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"content": "\u003cp>“Maybe start somewhere,” sings Sarah Bethe Nelson on the frisky song, “Start Somewhere,” which starts her album, “Fast-Moving Clouds” (Burger Records). If there’s a hesitancy to the statement, it fits.\u003c/p>\n\u003cp>This is someone just now making her solo debut at age 38. This comes after years of slogging away in the Bay Area roots-rock band \u003ca title=\"last.fm Prairiedog\" href=\"http://www.last.fm/music/Prairiedog\" target=\"_blank\" rel=\"noopener\">Prairiedog \u003c/a>while tending bar at the \u003ca title=\"Make Out Room\" href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener\">Make Out Room\u003c/a>, a Mission District dive. All of that provides background for this album’s vivid tableaux.\u003c/p>\n\u003cp>Toward the end of the title song she sings, “So you be \u003ca href=\"http://www.biography.com/people/sam-cooke-9256129#tragic-death-and-legacy\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a> and I’ll be you.” Suggesting that her lover be the tragic soul singer who was \u003ca href=\"http://www.rollingstone.com/movies/news/sam-cookes-family-approves-biopic-focusing-on-singers-death-20150318\" target=\"_blank\" rel=\"noopener\">killed\u003c/a> under sordid circumstances? It’s part whimsical musing, part convoluted escape plan.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/196906315″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The whole album is populated with people itching to get out of whatever situation they’re in, mostly relationships. But unable or unwilling to make those leaps, they say hurtful things, they kick and they scratch, they lie to each other, they lie to themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And maybe — there’s that maybe again — they expect too much. One of the key songs here, after all, is called “Impossible Love.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10460461 alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg\" alt=\" \" width=\"334\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1440x1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg 1500w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>Whether Nelson is singing about herself or recounting things she’s witnessed, and it’s hard to say most of the time, she takes the role of dry observer. She’s got the voice for it — more bemused than bored, less distant than dispassionate. Which is not to say passion\u003cem>less\u003c/em>. She’s a sharp storyteller, a turner of phrases that can be at once glibly clever and deeply revealing.\u003c/p>\n\u003cp>In the relatively lush “Paying,” as with many of the songs nominally set in the bar, she tells — or at least \u003cem>thinks\u003c/em> of telling — a swaggering swain that his drinks won’t be on the house anymore. But, uh, we’re not really talking about drinks, are we?\u003c/p>\n\u003cp>Producer \u003ca title=\"Kelley Stoltz\" href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>, who in his own albums deals in this kind of multi-hued melancholy, helps Nelson craft settings that enhance the scenes, like finely used lighting on a bare-bones theater stage. Nothing fancy, nothing excessive, but a rich variety of rock/Americana tones with little touches that make the tales pop — the almost harp or harpsichord-like plucked lines at the beginning of “Impossible Love,” for example, giving way to a jaunty tune. “Snake Shake” is as bare-bones as it gets, the music as spare as the words, just three brittle lines of Nelson saying she’d rather be a snake in the desert than to “keep living like this.”\u003c/p>\n\u003cp>Cheerful, huh? But for all that, “Fast-Moving Clouds” \u003cem>is\u003c/em> full of life, the work of an artist as engaged, and engaging, as her often-delightful tunes. It even ends on a note of optimism. Well, in context.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the final song, sounding somewhere between Morrissey and the Go-Go’s, she affirms that for whatever else might be going on, “We’re Not Dead.” And that’s a good place to start whatever comes next — no maybes about it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe — there’s that maybe again — they expect too much. One of the key songs here, after all, is called “Impossible Love.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10460461 alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg\" alt=\" \" width=\"334\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1440x1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg 1500w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>Whether Nelson is singing about herself or recounting things she’s witnessed, and it’s hard to say most of the time, she takes the role of dry observer. She’s got the voice for it — more bemused than bored, less distant than dispassionate. Which is not to say passion\u003cem>less\u003c/em>. She’s a sharp storyteller, a turner of phrases that can be at once glibly clever and deeply revealing.\u003c/p>\n\u003cp>In the relatively lush “Paying,” as with many of the songs nominally set in the bar, she tells — or at least \u003cem>thinks\u003c/em> of telling — a swaggering swain that his drinks won’t be on the house anymore. But, uh, we’re not really talking about drinks, are we?\u003c/p>\n\u003cp>Producer \u003ca title=\"Kelley Stoltz\" href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>, who in his own albums deals in this kind of multi-hued melancholy, helps Nelson craft settings that enhance the scenes, like finely used lighting on a bare-bones theater stage. Nothing fancy, nothing excessive, but a rich variety of rock/Americana tones with little touches that make the tales pop — the almost harp or harpsichord-like plucked lines at the beginning of “Impossible Love,” for example, giving way to a jaunty tune. “Snake Shake” is as bare-bones as it gets, the music as spare as the words, just three brittle lines of Nelson saying she’d rather be a snake in the desert than to “keep living like this.”\u003c/p>\n\u003cp>Cheerful, huh? But for all that, “Fast-Moving Clouds” \u003cem>is\u003c/em> full of life, the work of an artist as engaged, and engaging, as her often-delightful tunes. It even ends on a note of optimism. Well, in context.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the final song, sounding somewhere between Morrissey and the Go-Go’s, she affirms that for whatever else might be going on, “We’re Not Dead.” And that’s a good place to start whatever comes next — no maybes about it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Throughout the 1960s, the recording studios of Los Angeles were churning out hits like clockwork. Everyone knew the vocalists, but \u003cem>not \u003c/em>the musicians who played on the tracks. They were hired guns, one-take wonders, unflappable professionals.\u003c/p>\n\u003cp>They were The Wrecking Crew.\u003c/p>\n\u003cp>This group of elite L.A. studio aces played on hundreds of classic hits. They provided backing tracks for \u003ca href=\"http://www.thebeachboys.com/\">The Beach Boys\u003c/a>,\u003ca title=\"The Byrds\" href=\"http://www.thebyrds.com/\" target=\"_blank\"> The Byrds\u003c/a>, \u003ca title=\"Elvis\" href=\"http://www.elvis.com/\" target=\"_blank\">Elvis Presley\u003c/a>, Frank and \u003ca title=\"Nancy Sinatra\" href=\"http://nancysinatra.com/blog/\" target=\"_blank\">Nancy Sinatra\u003c/a>, and many more. They were \u003ca title=\"Rolling Stone-Phil Spector\" href=\"http://www.rollingstone.com/music/artists/phil-spector/biography\" target=\"_blank\">Phil Spector\u003c/a>’s legendary “Wall of Sound.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/195760513\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Filmmaker Denny Tedesco’s late father, guitarist \u003ca title=\"NY Times\" href=\"http://www.nytimes.com/1997/11/12/arts/tommy-tedesco-67-a-studio-guitarist.html\" target=\"_blank\">Tommy Tedesco\u003c/a>, was a major part of The Crew, and is a major part of his son’s newly released documentary, \"\u003ca title=\"The Wrecking Crew Film\" href=\"http://www.wreckingcrewfilm.com/\" target=\"_blank\">The Wrecking Crew\u003c/a>,\" a film nearly 20 years in the making that reveals the men — and one woman — behind the big names on the record covers.\u003c/p>\n\u003cfigure id=\"attachment_10453064\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453064\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg\" alt=\"Hal Blaine and Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"282\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-800x565.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1440x1016.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1180x833.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-768x542.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-320x226.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drummer Hal Blaine and a not-yet-famous Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>Director Tedesco says he started his project in 1996 after his father, a notorious three-pack-a-day smoker, was diagnosed with terminal cancer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When they said he had a year to live -- and I always wanted to do this story about The Wrecking Crew -- my concern was, if I don’t do it, it’s going to be the biggest regret of my life,” says Tedesco.\u003c/p>\n\u003cp>He began what would be years of interviews, hunting down archival photos and searching out extremely rare footage of the group actually in the studio.\u003c/p>\n\u003cp>“When it came to moving pictures, no one had it,” says Tedesco. “It’s like, if you were working at General Motors, why would you bring a camera to work? Same with these guys. It was work to them.”\u003c/p>\n\u003cp>He did finally discover a home movie a musician had made of the group, footage the player had edited into a porn film from the 1930s as a joke. Tedesco jumped on it.\u003c/p>\n\u003cfigure id=\"attachment_10453065\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453065\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg\" alt=\"Filmmaker Denny Tedesco's father, bassist Tommy.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-800x1173.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1440x2111.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-768x1126.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-320x469.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmaker Denny Tedesco's father, guitarist Tommy Tedesco. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The 19-year production schedule was a result of the first-time director’s do-it-yourself business plan, sustained on friends' donations,\u003ca title=\"Kickstarter-The Wrecking Crew\" href=\"https://www.kickstarter.com/projects/wreckingcrew/the-wrecking-crew-doc-untold-story-of-rock-and-rol\" target=\"_blank\"> Kickstarter\u003c/a> funds and his own wallet. The biggest hurdle was the cost of licensing 110 songs. Hit songs. \u003cem>Big\u003c/em> hit songs, and that’s not cheap.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453064\">“We had a $750,000 bill before we could even release this film [theatrically],” says Tedesco, 53, who had screened a version to great acclaim at SXSW in 2008. “No one was touching us. We still had this thing around our neck. Documentaries don’t sell. Music docs are the worst.”\u003c/p>\n\u003cp>Though helming the film has brought him deep into the world of his father, as a kid Tedesco had no idea his old man was playing on the soundtrack of a generation.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453065\">“Dad just went to work like every other dad,” he explains. “I never saw my dad play guitar at home until ’75 or ’76, when he started doing his own jazz stuff. ’Cause if dad went to work, he was working 12, 14 hours a day, he’s coming home, never saw him turn on the radio, never saw him turn on music, never picked up a guitar. He didn’t have to practice. You know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_10453051\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453051\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg\" alt=\"Bassist Carol Kaye, the only female member of The Wrecking Crew.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-800x1172.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1440x2110.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-768x1125.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-320x469.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Carol Kaye, the only female member of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The mainly jazz-trained group, which had up to 35 musicians at any one time, included names like future star \u003ca title=\"Glen Campbell\" href=\"http://glencampbellmusic.com/\" target=\"_blank\">Glen Campbell\u003c/a> on guitar, bassist \u003ca title=\"Carol Kaye\" href=\"http://www.carolkaye.com/\" target=\"_blank\">Carol Kaye\u003c/a> (the only female member in this macho bunch) and keyboardist \u003ca title=\"Leon Russell\" href=\"http://www.leonrussellrecords.com/index.shtml\" target=\"_blank\">Leon Russell\u003c/a>. The backbone was drummer\u003ca title=\"Hal Blaine\" href=\"http://www.halblaine.com/\" target=\"_blank\"> Hal Blaine\u003c/a>. If you know the iconic kick drum-snare intro to The \u003ca title=\"Rock & Roll Hall of Fame Inductees-The Ronettes\" href=\"http://rockhall.com/inductees/the-ronettes/bio/\" target=\"_blank\">Ronettes\u003c/a>’ classic “Be My Baby,” you know Blaine.\u003c/p>\n\u003cp>“I just started contracting because people wanted me,” Blaine, 86, recalls. \"We want the drummer that did ‘Be My Baby.’ \"\u003c/p>\n\u003cp>The embryonic rock that Blaine and the others were hired to play was not exactly challenging.\u003c/p>\n\u003cp>“Everything that we did, rock 'n’ roll-wise, was absolutely childish,” says the \u003ca href=\"http://rockhall.com/\" target=\"_blank\">Rock and Roll Hall\u003c/a> of Famer. “You had to play like you did the first time you ever picked up your drumsticks. … You wanted to make the rock 'n’ roll sound like the kids' rock 'n’ roll, but because of our expertise it really made it solid, made it great. We were at the right place at the right time with the right music, and the world jumped on this rock 'n’ roll genre.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZV5tgZlTEkQ?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Accounts vary, but Blaine says the name “Wrecking Crew” evolved from older studio musicians' contempt for this raw new music and the casual attitude of these modern players.\u003c/p>\n\u003cp>“They were all classically trained, some of the greatest musicians in Hollywood,” Blaine explains. “They really looked down their noses on us and this terrible, new filthy rock and roll. And it really wasn’t filthy. It was a whole new thing that these guys thought was going to wreck the business.”\u003c/p>\n\u003cp>Some of The Crew’s best-known work was for \u003ca title=\"Brian Wilson\" href=\"http://www.brianwilson.com/\" target=\"_blank\">Brian Wilson\u003c/a> on hits like “Good Vibrations,” “California Girls,” and the landmark \"\u003ca href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/the-beach-boys-pet-sounds-20120524\" target=\"_blank\">Pet Sounds\" \u003c/a>album. Keyboardist \u003ca title=\"Don Randi\" href=\"http://www.donrandi.com/home3_v4.html\" target=\"_blank\">Don Randi\u003c/a>’s playing was all over the Beach Boys’ tunes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=d8rd53WuojE\">https://www.youtube.com/watch?v=d8rd53WuojE\u003c/a>\u003c/p>\n\u003cp>“Brian, you knew he was making a hit but you didn’t know really a lot of times what it was, except one time. It was the song ‘Help Me, Rhonda.’ And we played it through one time, and as we started it the second time, I said, ‘Holy shit, this is a stone-cold hit!’ ”\u003c/p>\n\u003cp>Randi -- whose daughter, Leah Randi, has played bass with Pink -- offers some advice on what it took to cut it as a session player.\u003c/p>\n\u003cp>“Not having an ego would be the first thing,” he offers. “And being able to come up with what they want, even when they don’t know what they want. When we did ‘A Little Less Conversation’ with Elvis, that whole arrangement was done on the bandstand.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/WWVMXLSS1cA?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Though the music wasn’t particularly challenging for a skilled musician like Randi, it wasn’t without impact.\u003c/p>\n\u003cfigure id=\"attachment_10453011\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453011\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg\" alt=\"The Wrecking Crew's Don Randi. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"594\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-800x1188.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1440x2139.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1180x1753.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-768x1141.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-320x475.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Wrecking Crew's Don Randi. Randi played on hits by Nancy Sinatra, the Beach Boys and numerous others.(Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>“I still get the biggest kick out of listening to the radio and sometimes there’ll be five or six in a row, that’s me playing piano, you know? And I enjoyed it. I love the music. I had a great time. A lot of the guys couldn’t stand the music, but I’m proud of it.”\u003c/p>\n\u003cp>Advanced home studios and a changing music industry effectively ended the glory days of the studio session kings. By the ’80s, the members of the Wrecking Crew had gone their separate ways.\u003c/p>\n\u003cp>Randi and a small handful of them still work for hire. Hal Blaine retired to the California desert, and many of the group have died. But Denny Tedesco's film ensures that these people you heard, but never knew, won’t be forgotten.\u003c/p>\n\u003cp>\u003cem>THE WRECKING CREW opens in Los Angeles, Orange County, New York and additional regional cities on March 13. The film will also be available on VOD and iTunes.\u003cstrong> \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>http://youtu.be/SX5BCgmr7tg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout the 1960s, the recording studios of Los Angeles were churning out hits like clockwork. Everyone knew the vocalists, but \u003cem>not \u003c/em>the musicians who played on the tracks. They were hired guns, one-take wonders, unflappable professionals.\u003c/p>\n\u003cp>They were The Wrecking Crew.\u003c/p>\n\u003cp>This group of elite L.A. studio aces played on hundreds of classic hits. They provided backing tracks for \u003ca href=\"http://www.thebeachboys.com/\">The Beach Boys\u003c/a>,\u003ca title=\"The Byrds\" href=\"http://www.thebyrds.com/\" target=\"_blank\"> The Byrds\u003c/a>, \u003ca title=\"Elvis\" href=\"http://www.elvis.com/\" target=\"_blank\">Elvis Presley\u003c/a>, Frank and \u003ca title=\"Nancy Sinatra\" href=\"http://nancysinatra.com/blog/\" target=\"_blank\">Nancy Sinatra\u003c/a>, and many more. They were \u003ca title=\"Rolling Stone-Phil Spector\" href=\"http://www.rollingstone.com/music/artists/phil-spector/biography\" target=\"_blank\">Phil Spector\u003c/a>’s legendary “Wall of Sound.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/195760513&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/195760513'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Filmmaker Denny Tedesco’s late father, guitarist \u003ca title=\"NY Times\" href=\"http://www.nytimes.com/1997/11/12/arts/tommy-tedesco-67-a-studio-guitarist.html\" target=\"_blank\">Tommy Tedesco\u003c/a>, was a major part of The Crew, and is a major part of his son’s newly released documentary, \"\u003ca title=\"The Wrecking Crew Film\" href=\"http://www.wreckingcrewfilm.com/\" target=\"_blank\">The Wrecking Crew\u003c/a>,\" a film nearly 20 years in the making that reveals the men — and one woman — behind the big names on the record covers.\u003c/p>\n\u003cfigure id=\"attachment_10453064\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453064\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg\" alt=\"Hal Blaine and Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"282\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-800x565.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1440x1016.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1180x833.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-768x542.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-320x226.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drummer Hal Blaine and a not-yet-famous Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>Director Tedesco says he started his project in 1996 after his father, a notorious three-pack-a-day smoker, was diagnosed with terminal cancer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When they said he had a year to live -- and I always wanted to do this story about The Wrecking Crew -- my concern was, if I don’t do it, it’s going to be the biggest regret of my life,” says Tedesco.\u003c/p>\n\u003cp>He began what would be years of interviews, hunting down archival photos and searching out extremely rare footage of the group actually in the studio.\u003c/p>\n\u003cp>“When it came to moving pictures, no one had it,” says Tedesco. “It’s like, if you were working at General Motors, why would you bring a camera to work? Same with these guys. It was work to them.”\u003c/p>\n\u003cp>He did finally discover a home movie a musician had made of the group, footage the player had edited into a porn film from the 1930s as a joke. Tedesco jumped on it.\u003c/p>\n\u003cfigure id=\"attachment_10453065\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453065\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg\" alt=\"Filmmaker Denny Tedesco's father, bassist Tommy.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-800x1173.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1440x2111.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-768x1126.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-320x469.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmaker Denny Tedesco's father, guitarist Tommy Tedesco. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The 19-year production schedule was a result of the first-time director’s do-it-yourself business plan, sustained on friends' donations,\u003ca title=\"Kickstarter-The Wrecking Crew\" href=\"https://www.kickstarter.com/projects/wreckingcrew/the-wrecking-crew-doc-untold-story-of-rock-and-rol\" target=\"_blank\"> Kickstarter\u003c/a> funds and his own wallet. The biggest hurdle was the cost of licensing 110 songs. Hit songs. \u003cem>Big\u003c/em> hit songs, and that’s not cheap.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453064\">“We had a $750,000 bill before we could even release this film [theatrically],” says Tedesco, 53, who had screened a version to great acclaim at SXSW in 2008. “No one was touching us. We still had this thing around our neck. Documentaries don’t sell. Music docs are the worst.”\u003c/p>\n\u003cp>Though helming the film has brought him deep into the world of his father, as a kid Tedesco had no idea his old man was playing on the soundtrack of a generation.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453065\">“Dad just went to work like every other dad,” he explains. “I never saw my dad play guitar at home until ’75 or ’76, when he started doing his own jazz stuff. ’Cause if dad went to work, he was working 12, 14 hours a day, he’s coming home, never saw him turn on the radio, never saw him turn on music, never picked up a guitar. He didn’t have to practice. You know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_10453051\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453051\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg\" alt=\"Bassist Carol Kaye, the only female member of The Wrecking Crew.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-800x1172.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1440x2110.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-768x1125.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-320x469.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Carol Kaye, the only female member of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The mainly jazz-trained group, which had up to 35 musicians at any one time, included names like future star \u003ca title=\"Glen Campbell\" href=\"http://glencampbellmusic.com/\" target=\"_blank\">Glen Campbell\u003c/a> on guitar, bassist \u003ca title=\"Carol Kaye\" href=\"http://www.carolkaye.com/\" target=\"_blank\">Carol Kaye\u003c/a> (the only female member in this macho bunch) and keyboardist \u003ca title=\"Leon Russell\" href=\"http://www.leonrussellrecords.com/index.shtml\" target=\"_blank\">Leon Russell\u003c/a>. The backbone was drummer\u003ca title=\"Hal Blaine\" href=\"http://www.halblaine.com/\" target=\"_blank\"> Hal Blaine\u003c/a>. If you know the iconic kick drum-snare intro to The \u003ca title=\"Rock & Roll Hall of Fame Inductees-The Ronettes\" href=\"http://rockhall.com/inductees/the-ronettes/bio/\" target=\"_blank\">Ronettes\u003c/a>’ classic “Be My Baby,” you know Blaine.\u003c/p>\n\u003cp>“I just started contracting because people wanted me,” Blaine, 86, recalls. \"We want the drummer that did ‘Be My Baby.’ \"\u003c/p>\n\u003cp>The embryonic rock that Blaine and the others were hired to play was not exactly challenging.\u003c/p>\n\u003cp>“Everything that we did, rock 'n’ roll-wise, was absolutely childish,” says the \u003ca href=\"http://rockhall.com/\" target=\"_blank\">Rock and Roll Hall\u003c/a> of Famer. “You had to play like you did the first time you ever picked up your drumsticks. … You wanted to make the rock 'n’ roll sound like the kids' rock 'n’ roll, but because of our expertise it really made it solid, made it great. We were at the right place at the right time with the right music, and the world jumped on this rock 'n’ roll genre.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZV5tgZlTEkQ?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Accounts vary, but Blaine says the name “Wrecking Crew” evolved from older studio musicians' contempt for this raw new music and the casual attitude of these modern players.\u003c/p>\n\u003cp>“They were all classically trained, some of the greatest musicians in Hollywood,” Blaine explains. “They really looked down their noses on us and this terrible, new filthy rock and roll. And it really wasn’t filthy. It was a whole new thing that these guys thought was going to wreck the business.”\u003c/p>\n\u003cp>Some of The Crew’s best-known work was for \u003ca title=\"Brian Wilson\" href=\"http://www.brianwilson.com/\" target=\"_blank\">Brian Wilson\u003c/a> on hits like “Good Vibrations,” “California Girls,” and the landmark \"\u003ca href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/the-beach-boys-pet-sounds-20120524\" target=\"_blank\">Pet Sounds\" \u003c/a>album. Keyboardist \u003ca title=\"Don Randi\" href=\"http://www.donrandi.com/home3_v4.html\" target=\"_blank\">Don Randi\u003c/a>’s playing was all over the Beach Boys’ tunes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=d8rd53WuojE\">https://www.youtube.com/watch?v=d8rd53WuojE\u003c/a>\u003c/p>\n\u003cp>“Brian, you knew he was making a hit but you didn’t know really a lot of times what it was, except one time. It was the song ‘Help Me, Rhonda.’ And we played it through one time, and as we started it the second time, I said, ‘Holy shit, this is a stone-cold hit!’ ”\u003c/p>\n\u003cp>Randi -- whose daughter, Leah Randi, has played bass with Pink -- offers some advice on what it took to cut it as a session player.\u003c/p>\n\u003cp>“Not having an ego would be the first thing,” he offers. “And being able to come up with what they want, even when they don’t know what they want. When we did ‘A Little Less Conversation’ with Elvis, that whole arrangement was done on the bandstand.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/WWVMXLSS1cA?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Though the music wasn’t particularly challenging for a skilled musician like Randi, it wasn’t without impact.\u003c/p>\n\u003cfigure id=\"attachment_10453011\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453011\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg\" alt=\"The Wrecking Crew's Don Randi. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"594\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-800x1188.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1440x2139.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1180x1753.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-768x1141.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-320x475.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Wrecking Crew's Don Randi. Randi played on hits by Nancy Sinatra, the Beach Boys and numerous others.(Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>“I still get the biggest kick out of listening to the radio and sometimes there’ll be five or six in a row, that’s me playing piano, you know? And I enjoyed it. I love the music. I had a great time. A lot of the guys couldn’t stand the music, but I’m proud of it.”\u003c/p>\n\u003cp>Advanced home studios and a changing music industry effectively ended the glory days of the studio session kings. By the ’80s, the members of the Wrecking Crew had gone their separate ways.\u003c/p>\n\u003cp>Randi and a small handful of them still work for hire. Hal Blaine retired to the California desert, and many of the group have died. But Denny Tedesco's film ensures that these people you heard, but never knew, won’t be forgotten.\u003c/p>\n\u003cp>\u003cem>THE WRECKING CREW opens in Los Angeles, Orange County, New York and additional regional cities on March 13. The film will also be available on VOD and iTunes.\u003cstrong> \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Korean Folk Drummers Ring in the Lunar New Year",
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"content": "\u003cp>Sun Nin Fai Lok! Chúc Mừng Năm Mới! Sae Hae Bok Mani Ba Deu Se Yo!\u003c/p>\n\u003cp>Happy New Year! We are now in lunar year 4713 -- the Year of the Wood Sheep.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/193448761\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Asian-American communities throughout California have annual celebrations to usher in the new year. In \u003ca href=\"http://maps.latimes.com/neighborhoods/neighborhood/koreatown/\">L.A.’s Koreatown\u003c/a>, traditional folk drummers organize a street festival called jishinbalpki, which literally means “to step on the earth’s spirits.” The drumming troupe drops by local businesses to stomp out bad spirits and to usher in prosperity for the new year.\u003c/p>\n\u003cp>You simply can’t miss the drummers as they march down Western Avenue and Olympic Boulevard -- two main thoroughfares in L.A.’s Koreatown.\u003c/p>\n\u003cfigure id=\"attachment_10443968\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-400x300.jpg\" alt=\"As they march, the drummers shout, “Ajulshigoo-johta!” – it’s basically a vocal high-five.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10443968\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">As they march, the drummers shout, “Ajulshigoo-johta!” – it’s basically a vocal high-five. \u003ccite>(Kyung Jin Lee/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they march, the drummers shout, “Ajulshigoo-johta!” -- it’s basically a vocal high-five.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They drum traditional Korean folk beats, going from business to business: restaurants, beauty salons, video rental stores, comic-book shops and even car mechanics.\u003c/p>\n\u003cp>When the troupe arrives at a nail salon, emcee Han Kim starts a call and response in Korean, “Owner, open the door! Open the door so the luck can come in!” The group follows in unison. When the owner comes out, Kim continues the call and response.\u003c/p>\n\u003cp>He asks the group, “You have a friend that’s just complaining about how their fingertips look,” shouts Kim to the group. “Where do you recommend her to go?” The drummers respond, “Miiyu!”\u003c/p>\n\u003cp>After the exchange, Kim instructs the drummers to give a blast of good luck on their drums before exchanging thanks and moving on.\u003c/p>\n\u003cp>The jishinbalpki tradition stems from South Korean student activists who brought it to the U.S. in the late 1980s. They used \u003ca href=\"https://uspungmul.wordpress.com/what-is-pungmul/\">Korean drumming\u003c/a> and the new year festival as a way to bring attention to their political work.\u003c/p>\n\u003cp>Jang Woo Nam has drummed for more than 25 years. Nam says jishinbalpki gained popularity after the 1992 Los Angeles uprising, also known as the \u003ca href=\"http://www.cnn.com/2013/09/18/us/los-angeles-riots-fast-facts/\" target=\"_blank\">Rodney King riots\u003c/a>. The \u003ca href=\"http://iamkoream.com/april-issue-k-w-lee-challenges-the-grandchildren-of-the-la-riots/\">Korean-American business community was hit hard\u003c/a> -- it had almost half of the total damaged and destroyed property in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_10443969\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-400x300.jpg\" alt=\"Drummers visit businesses of all kinds, from nail salons to car mechanics.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10443969\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drummers visit businesses of all kinds, from nail salons to car mechanics. \u003ccite>(Kyung Jin Lee/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jishinbalpkis from '93 became a very community thing where they welcomed all these young Korean drumming folks, reminding Koreans of their Korean-ness and the Korean community,” says Nam. “Because they realized that communities do need to help come together and celebrate its identity.”\u003c/p>\n\u003cp>UCLA freshman Sally Oh says drumming is a way to connect with her heritage. She’s part of three student drumming groups that are organizing the event.\u003c/p>\n\u003cp>“Part of it is being able to express yourself through something you know your ancestors have been playing for centuries,” Oh says. “It feels like even living in America, I have a connection to my family in Korea, a connection with my friends here.”\u003c/p>\n\u003cp>Han Kim says togetherness and community-building are core themes of Korean drumming philosophy.\u003c/p>\n\u003cp>“Just playing one instrument doesn't sound good,” he says. “All the instruments have to come together to play. That creates harmony. It’s all about everyone playing together. So I feel it’s a symbol to world peace.”\u003c/p>\n\u003cp>Back in the street in Koreatown, Kim thanks the students for coming out.\u003c/p>\n\u003cp>“It’s you guys that bring out good fortunes of this year for our loved ones, for our neighbors, for the whole entire world,” says Kim. “Because we are ghostbusters in a sense. We’re here to call in the good spirits, the good energy, good fortune for everyone in our community. And we do it loud and proud, right?”\u003c/p>\n\u003cp>The drummers respond with shouts while banging on their drums.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The students wrap up around dusk. They’re tired and sweaty after drumming and dancing all day long. They say they’ll be back next year to usher in the Year of the Fire Monkey.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sun Nin Fai Lok! Chúc Mừng Năm Mới! Sae Hae Bok Mani Ba Deu Se Yo!\u003c/p>\n\u003cp>Happy New Year! We are now in lunar year 4713 -- the Year of the Wood Sheep.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/193448761&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/193448761'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Asian-American communities throughout California have annual celebrations to usher in the new year. In \u003ca href=\"http://maps.latimes.com/neighborhoods/neighborhood/koreatown/\">L.A.’s Koreatown\u003c/a>, traditional folk drummers organize a street festival called jishinbalpki, which literally means “to step on the earth’s spirits.” The drumming troupe drops by local businesses to stomp out bad spirits and to usher in prosperity for the new year.\u003c/p>\n\u003cp>You simply can’t miss the drummers as they march down Western Avenue and Olympic Boulevard -- two main thoroughfares in L.A.’s Koreatown.\u003c/p>\n\u003cfigure id=\"attachment_10443968\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-400x300.jpg\" alt=\"As they march, the drummers shout, “Ajulshigoo-johta!” – it’s basically a vocal high-five.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10443968\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">As they march, the drummers shout, “Ajulshigoo-johta!” – it’s basically a vocal high-five. \u003ccite>(Kyung Jin Lee/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they march, the drummers shout, “Ajulshigoo-johta!” -- it’s basically a vocal high-five.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They drum traditional Korean folk beats, going from business to business: restaurants, beauty salons, video rental stores, comic-book shops and even car mechanics.\u003c/p>\n\u003cp>When the troupe arrives at a nail salon, emcee Han Kim starts a call and response in Korean, “Owner, open the door! Open the door so the luck can come in!” The group follows in unison. When the owner comes out, Kim continues the call and response.\u003c/p>\n\u003cp>He asks the group, “You have a friend that’s just complaining about how their fingertips look,” shouts Kim to the group. “Where do you recommend her to go?” The drummers respond, “Miiyu!”\u003c/p>\n\u003cp>After the exchange, Kim instructs the drummers to give a blast of good luck on their drums before exchanging thanks and moving on.\u003c/p>\n\u003cp>The jishinbalpki tradition stems from South Korean student activists who brought it to the U.S. in the late 1980s. They used \u003ca href=\"https://uspungmul.wordpress.com/what-is-pungmul/\">Korean drumming\u003c/a> and the new year festival as a way to bring attention to their political work.\u003c/p>\n\u003cp>Jang Woo Nam has drummed for more than 25 years. Nam says jishinbalpki gained popularity after the 1992 Los Angeles uprising, also known as the \u003ca href=\"http://www.cnn.com/2013/09/18/us/los-angeles-riots-fast-facts/\" target=\"_blank\">Rodney King riots\u003c/a>. The \u003ca href=\"http://iamkoream.com/april-issue-k-w-lee-challenges-the-grandchildren-of-the-la-riots/\">Korean-American business community was hit hard\u003c/a> -- it had almost half of the total damaged and destroyed property in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_10443969\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-400x300.jpg\" alt=\"Drummers visit businesses of all kinds, from nail salons to car mechanics.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10443969\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drummers visit businesses of all kinds, from nail salons to car mechanics. \u003ccite>(Kyung Jin Lee/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jishinbalpkis from '93 became a very community thing where they welcomed all these young Korean drumming folks, reminding Koreans of their Korean-ness and the Korean community,” says Nam. “Because they realized that communities do need to help come together and celebrate its identity.”\u003c/p>\n\u003cp>UCLA freshman Sally Oh says drumming is a way to connect with her heritage. She’s part of three student drumming groups that are organizing the event.\u003c/p>\n\u003cp>“Part of it is being able to express yourself through something you know your ancestors have been playing for centuries,” Oh says. “It feels like even living in America, I have a connection to my family in Korea, a connection with my friends here.”\u003c/p>\n\u003cp>Han Kim says togetherness and community-building are core themes of Korean drumming philosophy.\u003c/p>\n\u003cp>“Just playing one instrument doesn't sound good,” he says. “All the instruments have to come together to play. That creates harmony. It’s all about everyone playing together. So I feel it’s a symbol to world peace.”\u003c/p>\n\u003cp>Back in the street in Koreatown, Kim thanks the students for coming out.\u003c/p>\n\u003cp>“It’s you guys that bring out good fortunes of this year for our loved ones, for our neighbors, for the whole entire world,” says Kim. “Because we are ghostbusters in a sense. We’re here to call in the good spirits, the good energy, good fortune for everyone in our community. And we do it loud and proud, right?”\u003c/p>\n\u003cp>The drummers respond with shouts while banging on their drums.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The students wrap up around dusk. They’re tired and sweaty after drumming and dancing all day long. They say they’ll be back next year to usher in the Year of the Fire Monkey.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>During a lunch break on a recent weekday, dentist Mark Harris gleefully hops onto a makeshift stage in his rehearsal space and plugs in his treasured American Deluxe Stratocaster.\u003c/p>\n\u003cp>“With a maple fret board, plugged into a 1961 Fender Tremolux,” explains Harris as he cuts loose with some jagged, wall-shaking riffs ala Neil Young.\u003c/p>\n\u003cp>“It’s a real clean, chimey sound and it’s kind of the working man’s guitar sound,” Harris says of the \u003ca title=\"Fender\" href=\"http://www.fender.com/\">Fender\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/188731208″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Most of his vast collection of instruments, all housed in a converted basement beneath his dental practice about an hour east of L.A., was purchased online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s just the trend in the music business,” says Harris.\u003c/p>\n\u003cp>“Lots of the other shops have just gone by the wayside because everything has gone online now. I’ve bought I’d say 75 percent to 90 percent of this stuff online. Guitars, too.”\u003c/p>\n\u003cp>There was a time when it may have seemed inconceivable to buy certain products online directly from manufacturers, like running shoes or cars — but people do. And they have been for a while. Fender Vice President Richard McDonald says big guitar manufacturers are kind of behind the times.\u003c/p>\n\u003cfigure id=\"attachment_10420092\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10420092 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg\" alt=\"Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-1440x1052.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And today in the age of modern brands and customers’ expectations, this type of evolution through specialty retail — whether it’s sporting goods or clothing apparel — it’s a pretty natural progression,” says McDonald, speaking from the National Association of Music Manufacturers convention in Anaheim, birthplace of \u003ca title=\"Leo Fender biography\" href=\"http://rockhall.com/inductees/leo-fender/bio/\">Leo Fender\u003c/a>.\u003c/p>\n\u003cp>“In some industries, it’s kind of a 10-years-ago conversation.”\u003c/p>\n\u003cp>A lot of people checking out instruments inside the crowed Fender showroom at last week’s NAMM convention had no idea they could also shop online directly from the company.\u003c/p>\n\u003cp>Dozens of musicians and merchants perused hundreds of candy-colored guitars, while ax-shredding demonstrators in black Fender shirts showed off the latest gear.\u003c/p>\n\u003cp>Greg Braught prefers to try before he buys. As he gingerly placed a vintage-looking sunburst-colored Fender guitar back on the rack I asked the Orange County musician if he’d consider buying that same guitar online.\u003c/p>\n\u003cp>“I would. As long as it had a good return policy just in case. But given Fender’s reputation for the quality of their build, I would,” says Braught.\u003c/p>\n\u003cp>“Having said what I just said, there’s no comparison to actually touching an instrument because it should feel like an extension of your fingers,” he adds.\u003c/p>\n\u003cp>“It should feel like extension of what you’re trying to bring out of your mind and heart.”\u003c/p>\n\u003cfigure id=\"attachment_10420095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10420095\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg\" alt=\"Musicians and merchants check out Fender products at this month’s National Association of Music Manufactures convention in Anaheim. \" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-1440x984.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musicians and merchants check out Fender products at this month’s National Association of Music Manufacturers convention in Anaheim. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Chris Cuellar, of \u003ca title=\"Music Mikes\" href=\"https://www.facebook.com/musicmikes%20\">Music Mike’s \u003c/a>instrument store in Riverside, says he’s not too thrilled with Fender’s move.\u003c/p>\n\u003cp>“Internet is good for some things, but not for everything,” says Cuellar.\u003c/p>\n\u003cp>“It takes away that wholesome fun of going through your local music store and visiting a retailer that knows you and helps you pick your first, or third, or your fifth instrument.”\u003c/p>\n\u003cp>Cuellar concedes Fender is making an effort to steer customers to reputable dealers via a scroll-down function on its sales site. That listing includes his shop.\u003c/p>\n\u003cp>“But who’s gonna scroll? Let’s be honest, right, everybody’s so quick to click,” says Cuellar.\u003c/p>\n\u003cp>Fender waited until last year to make its wares available online. The rollout was remarkably muted, given the company’s attention to volume.\u003c/p>\n\u003cp>Fender’s McDonald says the company never intended to make a big splash in e-commerce. The move is more about creating a personal connection with customers, giving them purchasing options — especially for musicians who may not have a guitar shop in their area.\u003c/p>\n\u003cp>That said, McDonald insists Fender is not trying to drive guitar shops out of business.\u003c/p>\n\u003cp>“Experiencing Fender electric guitars and amplifiers in a great local store with a knowledgeable sales person and consultant is the richest environment,” says McDonald.\u003c/p>\n\u003cp>“So if you look at the site, we’re constantly pushing people toward local dealers.”\u003c/p>\n\u003cp>But Cuellar worries that Fender’s move will trigger a domino effect that leads other instrument manufacturers to move in the same direction\u003c/p>\n\u003cp>“Once you take away the stores, you might as well take away the venues,” says Cuellar.\u003c/p>\n\u003cp>“I think if you have venues, you got to have stores, and if you have stores, you got to have venues around the corner somewhere,” says Cuellar.\u003c/p>\n\u003cp>“It just goes hand in hand.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fender declined to say just how its online sales are doing so far. But McDonald did say fewer customers seem to be using the site to actually buy guitars than to locate a Fender dealer in their area.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During a lunch break on a recent weekday, dentist Mark Harris gleefully hops onto a makeshift stage in his rehearsal space and plugs in his treasured American Deluxe Stratocaster.\u003c/p>\n\u003cp>“With a maple fret board, plugged into a 1961 Fender Tremolux,” explains Harris as he cuts loose with some jagged, wall-shaking riffs ala Neil Young.\u003c/p>\n\u003cp>“It’s a real clean, chimey sound and it’s kind of the working man’s guitar sound,” Harris says of the \u003ca title=\"Fender\" href=\"http://www.fender.com/\">Fender\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/188731208″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/188731208″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Most of his vast collection of instruments, all housed in a converted basement beneath his dental practice about an hour east of L.A., was purchased online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s just the trend in the music business,” says Harris.\u003c/p>\n\u003cp>“Lots of the other shops have just gone by the wayside because everything has gone online now. I’ve bought I’d say 75 percent to 90 percent of this stuff online. Guitars, too.”\u003c/p>\n\u003cp>There was a time when it may have seemed inconceivable to buy certain products online directly from manufacturers, like running shoes or cars — but people do. And they have been for a while. Fender Vice President Richard McDonald says big guitar manufacturers are kind of behind the times.\u003c/p>\n\u003cfigure id=\"attachment_10420092\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10420092 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg\" alt=\"Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-1440x1052.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And today in the age of modern brands and customers’ expectations, this type of evolution through specialty retail — whether it’s sporting goods or clothing apparel — it’s a pretty natural progression,” says McDonald, speaking from the National Association of Music Manufacturers convention in Anaheim, birthplace of \u003ca title=\"Leo Fender biography\" href=\"http://rockhall.com/inductees/leo-fender/bio/\">Leo Fender\u003c/a>.\u003c/p>\n\u003cp>“In some industries, it’s kind of a 10-years-ago conversation.”\u003c/p>\n\u003cp>A lot of people checking out instruments inside the crowed Fender showroom at last week’s NAMM convention had no idea they could also shop online directly from the company.\u003c/p>\n\u003cp>Dozens of musicians and merchants perused hundreds of candy-colored guitars, while ax-shredding demonstrators in black Fender shirts showed off the latest gear.\u003c/p>\n\u003cp>Greg Braught prefers to try before he buys. As he gingerly placed a vintage-looking sunburst-colored Fender guitar back on the rack I asked the Orange County musician if he’d consider buying that same guitar online.\u003c/p>\n\u003cp>“I would. As long as it had a good return policy just in case. But given Fender’s reputation for the quality of their build, I would,” says Braught.\u003c/p>\n\u003cp>“Having said what I just said, there’s no comparison to actually touching an instrument because it should feel like an extension of your fingers,” he adds.\u003c/p>\n\u003cp>“It should feel like extension of what you’re trying to bring out of your mind and heart.”\u003c/p>\n\u003cfigure id=\"attachment_10420095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10420095\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg\" alt=\"Musicians and merchants check out Fender products at this month’s National Association of Music Manufactures convention in Anaheim. \" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-1440x984.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musicians and merchants check out Fender products at this month’s National Association of Music Manufacturers convention in Anaheim. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Chris Cuellar, of \u003ca title=\"Music Mikes\" href=\"https://www.facebook.com/musicmikes%20\">Music Mike’s \u003c/a>instrument store in Riverside, says he’s not too thrilled with Fender’s move.\u003c/p>\n\u003cp>“Internet is good for some things, but not for everything,” says Cuellar.\u003c/p>\n\u003cp>“It takes away that wholesome fun of going through your local music store and visiting a retailer that knows you and helps you pick your first, or third, or your fifth instrument.”\u003c/p>\n\u003cp>Cuellar concedes Fender is making an effort to steer customers to reputable dealers via a scroll-down function on its sales site. That listing includes his shop.\u003c/p>\n\u003cp>“But who’s gonna scroll? Let’s be honest, right, everybody’s so quick to click,” says Cuellar.\u003c/p>\n\u003cp>Fender waited until last year to make its wares available online. The rollout was remarkably muted, given the company’s attention to volume.\u003c/p>\n\u003cp>Fender’s McDonald says the company never intended to make a big splash in e-commerce. The move is more about creating a personal connection with customers, giving them purchasing options — especially for musicians who may not have a guitar shop in their area.\u003c/p>\n\u003cp>That said, McDonald insists Fender is not trying to drive guitar shops out of business.\u003c/p>\n\u003cp>“Experiencing Fender electric guitars and amplifiers in a great local store with a knowledgeable sales person and consultant is the richest environment,” says McDonald.\u003c/p>\n\u003cp>“So if you look at the site, we’re constantly pushing people toward local dealers.”\u003c/p>\n\u003cp>But Cuellar worries that Fender’s move will trigger a domino effect that leads other instrument manufacturers to move in the same direction\u003c/p>\n\u003cp>“Once you take away the stores, you might as well take away the venues,” says Cuellar.\u003c/p>\n\u003cp>“I think if you have venues, you got to have stores, and if you have stores, you got to have venues around the corner somewhere,” says Cuellar.\u003c/p>\n\u003cp>“It just goes hand in hand.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fender declined to say just how its online sales are doing so far. But McDonald did say fewer customers seem to be using the site to actually buy guitars than to locate a Fender dealer in their area.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The recording industry continues to reel from falling CD sales as music fans flock to low-cost streaming. But this is hardly the first disruptive technology to shake record companies to the core. In the early 1940s, musicians shut down almost all recording in a struggle for increased royalties, seeking compensation for jukebox and radio play. Much like today, seismic changes in the music business opened doors for new sounds and new business models.\u003c/p>\n\u003cp>In Los Angeles, where the wartime boom fueled an explosion of creativity in black music, nearly a dozen independent labels sprang up to document the profusion of talent after the \u003ca href=\"http://www.afm.org/\">American Federation of Musicians\u003c/a> declared a strike in 1942 seeking 1-cent royalties on every record sold. Suddenly, styles ignored or overlooked by the big three -- \u003ca href=\"http://www.decca.com/\">Decca\u003c/a>, \u003ca href=\"http://columbiarecords.com/home\">Columbia\u003c/a> and \u003ca href=\"http://grammys.rcarecords.com/\">Victor\u003c/a> -- found a home, and no indie created a more enduring legacy than \u003ca href=\"http://www.nytimes.com/2000/03/23/arts/ross-russell-90-recorded-charlie-parker.html\">Ross Russell’s Dial Records.\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/186438043\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Russell, a writer who owned a small Hollywood music shop, launched Dial to record \u003ca href=\"http://www.cmgww.com/music/parker/home.html\">Charlie Parker\u003c/a>, or Bird, the genius alto saxophonist who forged the virtuosic new vocabulary of bebop with trumpeter Dizzy Gillespie. On their first trip to the West Coast, they played a three-month gig at Billy Berg’s, one of the first integrated clubs in Hollywood. The engagement firmly established the bracing new style on the Southland scene, and Russell quickly set about documenting Diz and Bird. When the rest of the band headed home, Parker stayed in L.A. He’s featured on about a third of the tracks on a new nine-disc set by the mail-order label \u003ca href=\"http://www.mosaicrecords.com/The-Complete-Dial-Modern-Jazz-Sessions-260/productinfo/260-MD-CD/\">Mosaic: \"The Complete Dial Modern Jazz Sessions.\"\u003c/a>\u003c/p>\n\u003cp>These recordings are the stuff of legend, capturing Bird on some his first dates under his own name, initially accompanied by a 20-year-old trumpeter named \u003ca href=\"http://www.milesdavis.com/us/home\">Miles Davis\u003c/a>. Focusing on his original pieces, like “Yardbird Suite,” “Ornithology” and “Moose the Mooche,” Parker plays with dazzling fluency.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=kRkVyaOGsag&w=640&h=350]\u003c/p>\n\u003cp>Russell recorded Bird at his best and at a moment of crisis, when his self-destructive habits caught up to him in the studio, leaving him ragged and forlorn on a version of “Lover Man.” Parker felt betrayed that Russell released the track, but he continued to record for Dial. When Bird moved back to New York in 1947, Russell and the label followed, recording the quintessential bebop combo on a series of blazing sessions featuring Bird’s working band with Miles, \u003ca href=\"http://www.vervemusicgroup.com/maxroach\">Max Roach\u003c/a>, bassist \u003ca href=\"http://www.allmusic.com/artist/tommy-potter-mn0000521303/biography\">Tommy Potter\u003c/a> and pianist \u003ca href=\"http://musicians.allaboutjazz.com/dukejordan\">Duke Jordan.\u003c/a>\u003c/p>\n\u003cp>But Dial continued to document L.A . modernists like trumpeter \u003ca href=\"http://www.allmusic.com/artist/howard-mcghee-mn0000276917\" target=\"_blank\">Howard McGhee,\u003c/a> pianist \u003ca href=\"http://musicians.allaboutjazz.com/errollgarner\">Erroll Garner\u003c/a> and tenor saxophonist \u003ca href=\"http://www.dextergordon.com/\">Dexter Gordon\u003c/a>, who made a point of featuring another rising L.A. star, trombonist \u003ca href=\"http://thegirlsintheband.com/2013/11/melba-liston/\">Melba Liston \u003c/a>(she went on to do brilliant work as an arranger with \u003ca href=\"http://www.dizzygillespie.com/\">Dizzy Gillespie\u003c/a> and \u003ca href=\"http://www.randyweston.info/\">Randy Weston\u003c/a>). A charismatic musician with a huge, muscular sound, Gordon gained a popular following in L.A. through his epic tenor battles with the lithe-toned Wardell Gray at a Central Avenue chicken joint called The-Bird-in-the-Basket. Using both sides of a 78, Russell captured their fierce but friendly jousting on “The Chase,” one of the label’s most popular records.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Kcscx7IvAiI&w=640&h=350]\u003c/p>\n\u003cp>The pieces by Dexter, Bird and Errol Garner, who sounds irrepressibly joyful on solo and trio sessions, have circulated widely over the years, but the box set also includes some eye-opening discoveries. The 21-year-old trumpeter \u003ca href=\"http://www.allmusic.com/artist/sonny-berman-mn0000043619/biography\">Sonny Berman\u003c/a>, who died just months after his session, sounds magnificent with a band gleaned from \u003ca href=\"http://www.woodyherman.com/\">Woody Herman’s\u003c/a> orchestra. McGhee’s work is equally revelatory, as his work with pianist \u003ca href=\"http://musicians.allaboutjazz.com/dodomarmarosa\">Dodo Marmarosa \u003c/a>(who’s also featured on some sparkling trio tracks of his own) shows why he was considered a worthy rival for Gillespie.\u003c/p>\n\u003cp>Bebop is often portrayed as the movement that sundered jazz from its popular following, transforming it from dance music into art music. But that narrative is far too simple. While innovative L.A. artists like blues guitarist T-Bone Walker, R&B crooner Charles Brown, and Joe Liggins and the Honeydrippers siphoned off much of jazz’s black audience, bebop had plenty of support, too.\u003c/p>\n\u003cp>The box set’s subtext is the devastation wrought by heroin on this generation of musicians. The roll call of achingly young casualties includes Bird, Berman, Gray, Fats Navarro and Serge Challof. Gordon, McGhee and drummer Roy Porter lost decades to addiction and incarceration. The liner notes, which aren’t quite up to Mosaic’s Grammy-winning standards, elide this sad reality, but provide a good overview of the label’s brief but glorious run.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 1948, Russell briefly turned his attention to contemporary European composers like Stravinsky and Schoenberg. Years later he wrote \"Bird Lives!,\" a colorful but often apocryphal account of Charlie Parker’s life. But there’s no denying the musical truth that Russell captured in the studio. This smartly produced box set is designed for collectors who want every note, or anyone who wants a front-row seat at a revolution that continues to reverberate.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The recording industry continues to reel from falling CD sales as music fans flock to low-cost streaming. But this is hardly the first disruptive technology to shake record companies to the core. In the early 1940s, musicians shut down almost all recording in a struggle for increased royalties, seeking compensation for jukebox and radio play. Much like today, seismic changes in the music business opened doors for new sounds and new business models.\u003c/p>\n\u003cp>In Los Angeles, where the wartime boom fueled an explosion of creativity in black music, nearly a dozen independent labels sprang up to document the profusion of talent after the \u003ca href=\"http://www.afm.org/\">American Federation of Musicians\u003c/a> declared a strike in 1942 seeking 1-cent royalties on every record sold. Suddenly, styles ignored or overlooked by the big three -- \u003ca href=\"http://www.decca.com/\">Decca\u003c/a>, \u003ca href=\"http://columbiarecords.com/home\">Columbia\u003c/a> and \u003ca href=\"http://grammys.rcarecords.com/\">Victor\u003c/a> -- found a home, and no indie created a more enduring legacy than \u003ca href=\"http://www.nytimes.com/2000/03/23/arts/ross-russell-90-recorded-charlie-parker.html\">Ross Russell’s Dial Records.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/186438043&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/186438043'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Russell, a writer who owned a small Hollywood music shop, launched Dial to record \u003ca href=\"http://www.cmgww.com/music/parker/home.html\">Charlie Parker\u003c/a>, or Bird, the genius alto saxophonist who forged the virtuosic new vocabulary of bebop with trumpeter Dizzy Gillespie. On their first trip to the West Coast, they played a three-month gig at Billy Berg’s, one of the first integrated clubs in Hollywood. The engagement firmly established the bracing new style on the Southland scene, and Russell quickly set about documenting Diz and Bird. When the rest of the band headed home, Parker stayed in L.A. He’s featured on about a third of the tracks on a new nine-disc set by the mail-order label \u003ca href=\"http://www.mosaicrecords.com/The-Complete-Dial-Modern-Jazz-Sessions-260/productinfo/260-MD-CD/\">Mosaic: \"The Complete Dial Modern Jazz Sessions.\"\u003c/a>\u003c/p>\n\u003cp>These recordings are the stuff of legend, capturing Bird on some his first dates under his own name, initially accompanied by a 20-year-old trumpeter named \u003ca href=\"http://www.milesdavis.com/us/home\">Miles Davis\u003c/a>. Focusing on his original pieces, like “Yardbird Suite,” “Ornithology” and “Moose the Mooche,” Parker plays with dazzling fluency.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kRkVyaOGsag'\n title='//www.youtube.com/embed/kRkVyaOGsag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Russell recorded Bird at his best and at a moment of crisis, when his self-destructive habits caught up to him in the studio, leaving him ragged and forlorn on a version of “Lover Man.” Parker felt betrayed that Russell released the track, but he continued to record for Dial. When Bird moved back to New York in 1947, Russell and the label followed, recording the quintessential bebop combo on a series of blazing sessions featuring Bird’s working band with Miles, \u003ca href=\"http://www.vervemusicgroup.com/maxroach\">Max Roach\u003c/a>, bassist \u003ca href=\"http://www.allmusic.com/artist/tommy-potter-mn0000521303/biography\">Tommy Potter\u003c/a> and pianist \u003ca href=\"http://musicians.allaboutjazz.com/dukejordan\">Duke Jordan.\u003c/a>\u003c/p>\n\u003cp>But Dial continued to document L.A . modernists like trumpeter \u003ca href=\"http://www.allmusic.com/artist/howard-mcghee-mn0000276917\" target=\"_blank\">Howard McGhee,\u003c/a> pianist \u003ca href=\"http://musicians.allaboutjazz.com/errollgarner\">Erroll Garner\u003c/a> and tenor saxophonist \u003ca href=\"http://www.dextergordon.com/\">Dexter Gordon\u003c/a>, who made a point of featuring another rising L.A. star, trombonist \u003ca href=\"http://thegirlsintheband.com/2013/11/melba-liston/\">Melba Liston \u003c/a>(she went on to do brilliant work as an arranger with \u003ca href=\"http://www.dizzygillespie.com/\">Dizzy Gillespie\u003c/a> and \u003ca href=\"http://www.randyweston.info/\">Randy Weston\u003c/a>). A charismatic musician with a huge, muscular sound, Gordon gained a popular following in L.A. through his epic tenor battles with the lithe-toned Wardell Gray at a Central Avenue chicken joint called The-Bird-in-the-Basket. Using both sides of a 78, Russell captured their fierce but friendly jousting on “The Chase,” one of the label’s most popular records.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Kcscx7IvAiI'\n title='//www.youtube.com/embed/Kcscx7IvAiI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The pieces by Dexter, Bird and Errol Garner, who sounds irrepressibly joyful on solo and trio sessions, have circulated widely over the years, but the box set also includes some eye-opening discoveries. The 21-year-old trumpeter \u003ca href=\"http://www.allmusic.com/artist/sonny-berman-mn0000043619/biography\">Sonny Berman\u003c/a>, who died just months after his session, sounds magnificent with a band gleaned from \u003ca href=\"http://www.woodyherman.com/\">Woody Herman’s\u003c/a> orchestra. McGhee’s work is equally revelatory, as his work with pianist \u003ca href=\"http://musicians.allaboutjazz.com/dodomarmarosa\">Dodo Marmarosa \u003c/a>(who’s also featured on some sparkling trio tracks of his own) shows why he was considered a worthy rival for Gillespie.\u003c/p>\n\u003cp>Bebop is often portrayed as the movement that sundered jazz from its popular following, transforming it from dance music into art music. But that narrative is far too simple. While innovative L.A. artists like blues guitarist T-Bone Walker, R&B crooner Charles Brown, and Joe Liggins and the Honeydrippers siphoned off much of jazz’s black audience, bebop had plenty of support, too.\u003c/p>\n\u003cp>The box set’s subtext is the devastation wrought by heroin on this generation of musicians. The roll call of achingly young casualties includes Bird, Berman, Gray, Fats Navarro and Serge Challof. Gordon, McGhee and drummer Roy Porter lost decades to addiction and incarceration. The liner notes, which aren’t quite up to Mosaic’s Grammy-winning standards, elide this sad reality, but provide a good overview of the label’s brief but glorious run.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 1948, Russell briefly turned his attention to contemporary European composers like Stravinsky and Schoenberg. Years later he wrote \"Bird Lives!,\" a colorful but often apocryphal account of Charlie Parker’s life. But there’s no denying the musical truth that Russell captured in the studio. This smartly produced box set is designed for collectors who want every note, or anyone who wants a front-row seat at a revolution that continues to reverberate.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "S.F. Tape Music Festival Showcases the Art of Captured Sound",
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"content": "\u003cp>The Victoria Theatre is packed. It is completely dark except for the glow of emergency exit signs. Vaudeville performers used to fill the stage down in front, but now nothing is there but an array of speakers. Everyone in the audience is facing them, waiting for the sound that will soon erupt into the room.\u003c/p>\n\u003cp>This is the scene in San Francisco at the country's largest, and probably only, tape music festival. The first composition to come out of the speakers: \"La Voz del Fuelle\" by Diana Salazar.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/22319714\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“Tape music” is a term for experimental audio art. Composers record and manipulate sounds with computers and mixers. Then the compositions get projected onto speakers that surround the listeners.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/146590273\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>This piece is \"giraSol~giraNada\" by David Arango Valencia, but listening to it on headphones does not do it justice. When it's performed there are no visual distractions. The audio swirls around you, gliding from speaker to speaker, creating its own dimensions inside the darkened room.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the first set, people sitting near me describe the sensation of listening. The woman to my right says she has been listening to this kind of experimental music for 30 years. She likes it because “you don't know where it is going to go.” The man on my left says it makes you “drift in and out of visual memories.” “You feel like you are being pulled into or away from different things,” the woman next to him says. “There were some volcanoes and things happening for sure. I felt like I was in a river.” The guy adds that “it's cool all these people came out to sit in the dark and trip out on all these sounds.”\u003c/p>\n\u003cp>For the festival organizers, it's cool the music draws such a big crowd -- and it's also kind of a shock.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/186436279\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“I had no thought that so many people would be into this kind of music,\" says festival coordinator Matt Ingalls. He started this show with some friends 15 years ago essentially for their own enjoyment. The core Tape Music group is Ingalls, Thom Blum, Kent Jolly, Cliff Caruthers and Joseph Anderson.\u003c/p>\n\u003cp>\"[For the first year], we just got all our home studio equipment together and did a performance,\" Ingalls explains, “and it sounded really cool and we were like, 'Hey, why don't we turn this into a festival?'”\u003c/p>\n\u003cp>The show has grown ever since, as has interest in the genre. Now places like the \u003ca href=\"http://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/SoundBox-Fact-Sheet-14-15.aspx\">San Francisco Symphony\u003c/a> and the city’s \u003ca href=\"http://www.exploratorium.edu/press-office/press-releases/exploratoriums-experimental-music-series-plays-december\">Exploratorium \u003c/a>have experimental music nights. At the yearly Tape Music Festival you can hear new compositions alongside classics, such as the 1930 recording made by German filmmaker \u003ca href=\"https://www.youtube.com/watch?v=KVZVpAVfZ6M\">Walter Ruttman\u003c/a>.\u003c/p>\n\u003cp>Ingalls considers this the first piece of tape music. It's an audio collage of urban sounds titled \"Weekend.\"\u003c/p>\n\u003cp>The name “tape music” comes from the act of recording sounds onto tape. The genre is also called “acousmatic sound” or “Musique Concrète” in France -- there it gained popularity in the '40s and '50s. By the 1960s, tape music had started to influence American rock-and-roll musicians like Frank Zappa.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yDNXsNkX-0c\u003c/p>\n\u003cp>In classic Zappa weirdness, this piece from 1968 is titled \"Nasal Retentive Calliope Music.\"\u003c/p>\n\u003cp>Ingalls says in the '60s it seemed like tape music might become more mainstream. “Everyone felt it was moving that way,” he says. “It was a very experimental time for music, but somehow, somehow music lost its way and moved back to more mundane pop.”\u003c/p>\n\u003cp>Instead of becoming popular, experimental music moved into academia and became computerized. Former UC Berkeley Professor David Wessel wrote this piece, \"Antony,\" in 1977. He created the music by using a mainframe computer to layer numerous sine waves of sound on top of each other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9GCZ53HRdH0\u003c/p>\n\u003cp>Modern composers like \u003ca href=\"https://soundcloud.com/thom-blum\">Thom Blum\u003c/a> and Cliff Caruthers now depend on computers, but the heart of tape music still lies in the sounds they record. “I've always been interested in sound,” Caruthers says. “Even as a little kid, those things always fascinated me.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/97507481\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>His piece, \"Natoma\" features recordings of water, Caruthers' dad reading a children's book, an instrument his friend made, and the New York subway. “For a long time whenever I would take a trip, that recorder was on my hip and always just collecting sounds,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Caruthers calls his compositions audio sculptures, built out of those little bits of sound he gathers from all around him.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Victoria Theatre is packed. It is completely dark except for the glow of emergency exit signs. Vaudeville performers used to fill the stage down in front, but now nothing is there but an array of speakers. Everyone in the audience is facing them, waiting for the sound that will soon erupt into the room.\u003c/p>\n\u003cp>This is the scene in San Francisco at the country's largest, and probably only, tape music festival. The first composition to come out of the speakers: \"La Voz del Fuelle\" by Diana Salazar.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/22319714&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/22319714'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Tape music” is a term for experimental audio art. Composers record and manipulate sounds with computers and mixers. Then the compositions get projected onto speakers that surround the listeners.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/146590273&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/146590273'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This piece is \"giraSol~giraNada\" by David Arango Valencia, but listening to it on headphones does not do it justice. When it's performed there are no visual distractions. The audio swirls around you, gliding from speaker to speaker, creating its own dimensions inside the darkened room.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the first set, people sitting near me describe the sensation of listening. The woman to my right says she has been listening to this kind of experimental music for 30 years. She likes it because “you don't know where it is going to go.” The man on my left says it makes you “drift in and out of visual memories.” “You feel like you are being pulled into or away from different things,” the woman next to him says. “There were some volcanoes and things happening for sure. I felt like I was in a river.” The guy adds that “it's cool all these people came out to sit in the dark and trip out on all these sounds.”\u003c/p>\n\u003cp>For the festival organizers, it's cool the music draws such a big crowd -- and it's also kind of a shock.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/186436279&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/186436279'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I had no thought that so many people would be into this kind of music,\" says festival coordinator Matt Ingalls. He started this show with some friends 15 years ago essentially for their own enjoyment. The core Tape Music group is Ingalls, Thom Blum, Kent Jolly, Cliff Caruthers and Joseph Anderson.\u003c/p>\n\u003cp>\"[For the first year], we just got all our home studio equipment together and did a performance,\" Ingalls explains, “and it sounded really cool and we were like, 'Hey, why don't we turn this into a festival?'”\u003c/p>\n\u003cp>The show has grown ever since, as has interest in the genre. Now places like the \u003ca href=\"http://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/SoundBox-Fact-Sheet-14-15.aspx\">San Francisco Symphony\u003c/a> and the city’s \u003ca href=\"http://www.exploratorium.edu/press-office/press-releases/exploratoriums-experimental-music-series-plays-december\">Exploratorium \u003c/a>have experimental music nights. At the yearly Tape Music Festival you can hear new compositions alongside classics, such as the 1930 recording made by German filmmaker \u003ca href=\"https://www.youtube.com/watch?v=KVZVpAVfZ6M\">Walter Ruttman\u003c/a>.\u003c/p>\n\u003cp>Ingalls considers this the first piece of tape music. It's an audio collage of urban sounds titled \"Weekend.\"\u003c/p>\n\u003cp>The name “tape music” comes from the act of recording sounds onto tape. The genre is also called “acousmatic sound” or “Musique Concrète” in France -- there it gained popularity in the '40s and '50s. By the 1960s, tape music had started to influence American rock-and-roll musicians like Frank Zappa.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yDNXsNkX-0c'\n title='//www.youtube.com/embed/yDNXsNkX-0c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In classic Zappa weirdness, this piece from 1968 is titled \"Nasal Retentive Calliope Music.\"\u003c/p>\n\u003cp>Ingalls says in the '60s it seemed like tape music might become more mainstream. “Everyone felt it was moving that way,” he says. “It was a very experimental time for music, but somehow, somehow music lost its way and moved back to more mundane pop.”\u003c/p>\n\u003cp>Instead of becoming popular, experimental music moved into academia and became computerized. Former UC Berkeley Professor David Wessel wrote this piece, \"Antony,\" in 1977. He created the music by using a mainframe computer to layer numerous sine waves of sound on top of each other.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9GCZ53HRdH0'\n title='//www.youtube.com/embed/9GCZ53HRdH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Modern composers like \u003ca href=\"https://soundcloud.com/thom-blum\">Thom Blum\u003c/a> and Cliff Caruthers now depend on computers, but the heart of tape music still lies in the sounds they record. “I've always been interested in sound,” Caruthers says. “Even as a little kid, those things always fascinated me.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/97507481&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/97507481'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His piece, \"Natoma\" features recordings of water, Caruthers' dad reading a children's book, an instrument his friend made, and the New York subway. “For a long time whenever I would take a trip, that recorder was on my hip and always just collecting sounds,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Caruthers calls his compositions audio sculptures, built out of those little bits of sound he gathers from all around him.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pop Music Review: Silk Rhodes' Quirky Debut Album ",
"title": "Pop Music Review: Silk Rhodes' Quirky Debut Album ",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The group's name is a giveaway. Silk, as in smooth, and Rhodes, as in \u003ca title=\"Fender Rhodes Electric Piano- Smithsonian\" href=\"http://americanhistory.si.edu/collections/search/object/nmah_606755\">Fender Rhodes\u003c/a>, the electric piano that gave a signature sound to a lot of ‘70s funk and soul. By and large, that’s the spiritual model for what we have here on \u003ca title=\"Stones Throw Records-Silk Rhodes\" href=\"http://www.stonesthrow.com/silkrhodes\">Silk Rhodes\u003c/a>’ self-titled debut album.\u003c/p>\n\u003cp>It’s there from the first notes of the first track, simply titled “Intro” — smooth funk going back a few decades, but stripped down to the bone by a couple of mad sonic scientists.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/180182206\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>And the album cover, too. It’s a photo of a miniature Silk Rhodes logo on a young woman’s tongue, like a pill. Well, the album is made up of pieces that are basically miniatures -- concise, minimalist sketches. “Pains,” for example, is like a distant dream of a soul song, alluringly so.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg\">\u003cimg class=\"alignleft wp-image-10367635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg\" alt=\"Silk Rhodes\" width=\"362\" height=\"362\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg 1500w\" sizes=\"(max-width: 362px) 100vw, 362px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So who are the guys behind this? Producer Michael Collins and singer Sasha Desree came to California from Baltimore and New York, respectively, via rather circuitous routes, becoming friends and collaborators along the way.\u003c/p>\n\u003cp>The story goes, and we may as well believe it, that the two turned their 1997 Honda CR-V into a mobile recording studio, incorporating its vintage sound system, so they could record whatever crazy ideas might strike them in the moment, often with whoever was around at the moment. Sometimes they’d even give the music test runs for random folks on the street.\u003c/p>\n\u003cp>Much of this is pretty weird -- oddball experiments and goofs. One interlude, “Laurie’s Machine,” is apparently just that, messages left on someone’s answering machine.\u003c/p>\n\u003cp>So who do we hear in this? Maybe the Spinners or Delfonics? \u003ca title=\"Gamble-Huff Music\" href=\"http://www.gamble-huffmusic.com/home2/\">Gamble and Huff\u003c/a>’s classic Sound of Philadelphia productions for sure. Maybe some of the era’s jazz-soul crossovers, the Crusaders and George Benson?\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SoxbvE1Doog?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: justify\">More than any of those, this brings to mind the little experiments that knitted together Prince’s brilliant, still hard-to-get-a-handle-on “\u003ca title=\"Rolling Stone's 500 Greatest Albums of All Time; #93\" href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/prince-sign-o-the-times-20120524\">Sign 'o' the Times\u003c/a>.” There’s even a track on this called “Group 1987,\" the year when the Prince album was released. Coincidence? Maybe, but.…\u003c/p>\n\u003cp>But then it also fits nicely in the current run of California oddballs making distinctively weird, and weirdly engaging, music — \u003ca title=\"Tumblr- Flying Lotus\" href=\"http://officialflylo.tumblr.com/\">Flying Lotus\u003c/a> and \u003ca title=\"4AD Records-Ariel Pink\" href=\"http://www.4ad.com/artists/arielpink\">Ariel Pink\u003c/a> among them. As with them, Silk Rhodes’ weirdness can coalesce into some wondrous, coherently creative music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s exactly where it all leads when we get to the album’s closer, “The System.” It’s a real song. It still evokes some of the vintage acts, but has its own shape, its own character. It even has something to say, and points to promising directions for the future. Sounds like after poking around the past, Collins and Desree are ready to explore some new roads.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The group's name is a giveaway. Silk, as in smooth, and Rhodes, as in \u003ca title=\"Fender Rhodes Electric Piano- Smithsonian\" href=\"http://americanhistory.si.edu/collections/search/object/nmah_606755\">Fender Rhodes\u003c/a>, the electric piano that gave a signature sound to a lot of ‘70s funk and soul. By and large, that’s the spiritual model for what we have here on \u003ca title=\"Stones Throw Records-Silk Rhodes\" href=\"http://www.stonesthrow.com/silkrhodes\">Silk Rhodes\u003c/a>’ self-titled debut album.\u003c/p>\n\u003cp>It’s there from the first notes of the first track, simply titled “Intro” — smooth funk going back a few decades, but stripped down to the bone by a couple of mad sonic scientists.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/180182206&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/180182206'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And the album cover, too. It’s a photo of a miniature Silk Rhodes logo on a young woman’s tongue, like a pill. Well, the album is made up of pieces that are basically miniatures -- concise, minimalist sketches. “Pains,” for example, is like a distant dream of a soul song, alluringly so.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg\">\u003cimg class=\"alignleft wp-image-10367635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg\" alt=\"Silk Rhodes\" width=\"362\" height=\"362\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg 1500w\" sizes=\"(max-width: 362px) 100vw, 362px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So who are the guys behind this? Producer Michael Collins and singer Sasha Desree came to California from Baltimore and New York, respectively, via rather circuitous routes, becoming friends and collaborators along the way.\u003c/p>\n\u003cp>The story goes, and we may as well believe it, that the two turned their 1997 Honda CR-V into a mobile recording studio, incorporating its vintage sound system, so they could record whatever crazy ideas might strike them in the moment, often with whoever was around at the moment. Sometimes they’d even give the music test runs for random folks on the street.\u003c/p>\n\u003cp>Much of this is pretty weird -- oddball experiments and goofs. One interlude, “Laurie’s Machine,” is apparently just that, messages left on someone’s answering machine.\u003c/p>\n\u003cp>So who do we hear in this? Maybe the Spinners or Delfonics? \u003ca title=\"Gamble-Huff Music\" href=\"http://www.gamble-huffmusic.com/home2/\">Gamble and Huff\u003c/a>’s classic Sound of Philadelphia productions for sure. Maybe some of the era’s jazz-soul crossovers, the Crusaders and George Benson?\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SoxbvE1Doog?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: justify\">More than any of those, this brings to mind the little experiments that knitted together Prince’s brilliant, still hard-to-get-a-handle-on “\u003ca title=\"Rolling Stone's 500 Greatest Albums of All Time; #93\" href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/prince-sign-o-the-times-20120524\">Sign 'o' the Times\u003c/a>.” There’s even a track on this called “Group 1987,\" the year when the Prince album was released. Coincidence? Maybe, but.…\u003c/p>\n\u003cp>But then it also fits nicely in the current run of California oddballs making distinctively weird, and weirdly engaging, music — \u003ca title=\"Tumblr- Flying Lotus\" href=\"http://officialflylo.tumblr.com/\">Flying Lotus\u003c/a> and \u003ca title=\"4AD Records-Ariel Pink\" href=\"http://www.4ad.com/artists/arielpink\">Ariel Pink\u003c/a> among them. As with them, Silk Rhodes’ weirdness can coalesce into some wondrous, coherently creative music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s exactly where it all leads when we get to the album’s closer, “The System.” It’s a real song. It still evokes some of the vintage acts, but has its own shape, its own character. It even has something to say, and points to promising directions for the future. Sounds like after poking around the past, Collins and Desree are ready to explore some new roads.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To see Danny Amis waiting to cross the street, to see him in line at the market, to see him pumping gas or petting his small dog, Seymour, are not particularly memorable sights. He is a soft-spoken, middle-aged guy, a regular joe, a man who walks among his fellow Californians unnoticed.\u003c/p>\n\u003cp>But to see him wearing a Mexican wrestling mask and a tuxedo, slinging a sparkling \u003ca href=\"http://www.dipintoguitars.com/category.php?id=1\">DiPinto guitar\u003c/a> onstage south of the border in front of tens of raging thousands is to see a transformation not soon forgotten. For this is no longer Danny Amis, this is the legendary Daddy-O Grande of the instrumental band \u003ca href=\"http://www.yeproc.com/artists/los-straitjackets\">Los Straitjackets\u003c/a>, a longtime cult favorite in the states that’s inspired a massive music scene in Mexico, where this simple chap has become an icon.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/178827643\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“Danny Amis is considered the godfather of the surf music sound here in Mexico,” says Gabriel Lopez, guitarist for Twin Tones, a wildly popular Mexican group that has collaborated with Amis on the aptly named new album \"Super Spy Western Tones.\" “He's very respected and his songs have been covered by an enormous number of bands here.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\">\u003cimg class=\"alignright size-full wp-image-10344301\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\" alt=\"LPJ1200S PSD\" width=\"350\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350.jpg 350w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The beautifully produced instrumental collection is a bold soundtrack of primal twang, moody reverb and the six-string sound of the spaghetti West, songs written mostly by Amis that are as evocative of time and place as they are catchy.\u003c/p>\n\u003cp>“For a whole generation, mine and the one after, the guitar-playing style of Danny Amis was a huge influence,” continues Lopez. “I think it's a sound that a lot of Mexican bands consciously and unconsciously adopted.”\u003c/p>\n\u003cp>Born in Memphis, Amis grew up in Minneapolis, where he got his first exposure to the music that would pattern his life. “When I was a little kid my older brother had all the Ventures records and Link Wray and Duane Eddy records,” he says. “I just grew up with that as my definition of what an electric guitar should sound like.”\u003c/p>\n\u003cp>By the late ‘70s, Amis was leading his first instrumental band, The Overtones, before heading to New York in 1980 to join the seminal surf combo \u003ca href=\"http://www.bar-none.com/bios/raybio.html\">The Raybeats\u003c/a>. His next move was to Nashville, where he worked for the Grand Ole Opry as an audio engineer and, briefly, for a late incarnation of “Hee Haw.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=5FjpHTiImBk&w=640&h=350]\u003c/p>\n\u003cp>“It was excruciating,” Amis recalls. “Fourteen takes of the same joke.”\u003c/p>\n\u003cp>In 1989 he took a fateful trip south of the border, one that would spark an ongoing passion for Mexico. “First time I went down I was just looking for some sort of an adventure,” Amis says. “I took a bus down to Chihuahua. I had heard some Mexican rock and roll stuff, and I wanted to look for some of that, so I went to a record store. I not only found that, but I found a lot of new bands from Mexico City that were just dynamite. I felt at home right away and I knew I wouldn’t be able to stay away, so I’ve been going back pretty regularly ever since.”\u003c/p>\n\u003cp>In 1994 Amis co-founded Los Straitjackets, and it wasn’t long before bootleg copies of the group’s music began filtering into Mexico. The ingredients were ripe for popularity. The band all wore Lucha Libre masks, the music was fun, festive and powerful, and translation was not an issue. There were no lyrics.\u003c/p>\n\u003cp>Initially, however, Amis admits concern that the masks might have been viewed as culturally insensitive. “We had that fear a little but it was the opposite,” he says. “They were flattered that an American band would find elements of their culture really cool and really hip, which we do, and they just didn’t expect that. It touched a nerve down there, and then a whole music scene.”\u003c/p>\n\u003cp>Amis befriended one of the first groups in that scene,\u003ca href=\"http://www.lostacapulco.com/\"> Lost Acapulco\u003c/a>, and produced its hit debut album in 1998.\u003c/p>\n\u003cp>“When you have a chemical music thing it’s very easy to play and to do music, and that’s what happened with Danny and Lost Acapulco,” says Caleb Franco, aka Senor Ramirez, the band’s bassist. “We are big fans of Los Straitjackets as well. There’s so much influence for us. Of course, they wear wrestling masks, which is really good for Mexicans, but I think the crowd in Mexico likes their music so much [because] it’s so clear, so clean and super fantastic.”\u003c/p>\n\u003cp>The popularity of the Lost Acapulco album paved the way for Los Straitjackets to cross the border. “Because it was such a huge hit everybody wanted to know more about me and Los Straitjackets, so we finally went down and did a couple of shows in Mexico City and Guadalajara,” Amis says. “It was amazing the response we got.”\u003c/p>\n\u003cp>Bear in mind, we’re talking about a group that draws on the average “a couple hundred” folks to gigs in America. Last fall, Amis and his masked men attracted a frenzied audience of 50,000 to Mexico City’s Foro Sol arena -- two nights in a row.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=SKgidw7glcw&w=640&h=350]\u003c/p>\n\u003cp>“It’s huge! What he’s got going on down there is huge and really unbelievable,” says musician Ben Vaughn. He produced Los Straitjackets’ first three albums and has known Amis since 1983. “It’s a mystery to me, but it also makes sense, mainly because it’s Danny Amis. He’s a visionary and he doesn’t question his motives. He just follows whatever he’s excited about.”\u003c/p>\n\u003cp>Amis also takes Daddy-O Grande very seriously.\u003c/p>\n\u003cp>“He never takes the mask off when he’s down there,” Vaughn reveals. “He goes out to dinner, after sound check, keeps it on. He’s very dedicated to Daddy-O Grande, and they love him down there. He’s the right guy, and Los Straitjackets are the right band. It’s a really interesting phenomenon.”\u003c/p>\n\u003cp>While Amis was in Mexico City last year, he joined forces with the Twin Tones, spending a week in the band’s studio recording, Super Spy Western Tones. A successful Kickstarter campaign helped fund the project.\u003c/p>\n\u003cp>“This album is more than a collaboration between Danny and Los Twin Tones,” offers Vaughn. “It’s actually more cinematic almost, because of the orchestration and the horns and the strings, and the elements of film music dramatics and melodies. It has a sweeping larger feel than a standard instrumental record.”\u003c/p>\n\u003cp>The international project was hatched years ago, but was shelved when Amis hit a major, and very unexpected, road bump.\u003c/p>\n\u003cp>“We had talked about doing some recording together, but of course everything got put on hold when I got cancer,” Amis says. “I had a stem cell transplant to treat multiple myeloma. It got everything under control. I’m not technically in remission, but I’m doing OK, so last year we finally got together and made it happen.”\u003c/p>\n\u003cp>While he still records with Los Straitjackets, he no longer tours with the band, leaving him free to leave California for the land that he loves where his music is king, and he is the godfather.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It dawned on me, you know my favorite place in the world is Mexico City. The more I thought about it, I thought that’s where I really want to be,” says Amis. “I’ll probably play and record a lot more music down there because I don’t have to travel to do it. I got cancer in 2010, and a year ago I had a heart attack. Now I have the two leading causes of death and I’m still here. And I feel like I’m the luckiest guy in the world.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To see Danny Amis waiting to cross the street, to see him in line at the market, to see him pumping gas or petting his small dog, Seymour, are not particularly memorable sights. He is a soft-spoken, middle-aged guy, a regular joe, a man who walks among his fellow Californians unnoticed.\u003c/p>\n\u003cp>But to see him wearing a Mexican wrestling mask and a tuxedo, slinging a sparkling \u003ca href=\"http://www.dipintoguitars.com/category.php?id=1\">DiPinto guitar\u003c/a> onstage south of the border in front of tens of raging thousands is to see a transformation not soon forgotten. For this is no longer Danny Amis, this is the legendary Daddy-O Grande of the instrumental band \u003ca href=\"http://www.yeproc.com/artists/los-straitjackets\">Los Straitjackets\u003c/a>, a longtime cult favorite in the states that’s inspired a massive music scene in Mexico, where this simple chap has become an icon.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/178827643&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/178827643'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Danny Amis is considered the godfather of the surf music sound here in Mexico,” says Gabriel Lopez, guitarist for Twin Tones, a wildly popular Mexican group that has collaborated with Amis on the aptly named new album \"Super Spy Western Tones.\" “He's very respected and his songs have been covered by an enormous number of bands here.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\">\u003cimg class=\"alignright size-full wp-image-10344301\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\" alt=\"LPJ1200S PSD\" width=\"350\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350.jpg 350w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The beautifully produced instrumental collection is a bold soundtrack of primal twang, moody reverb and the six-string sound of the spaghetti West, songs written mostly by Amis that are as evocative of time and place as they are catchy.\u003c/p>\n\u003cp>“For a whole generation, mine and the one after, the guitar-playing style of Danny Amis was a huge influence,” continues Lopez. “I think it's a sound that a lot of Mexican bands consciously and unconsciously adopted.”\u003c/p>\n\u003cp>Born in Memphis, Amis grew up in Minneapolis, where he got his first exposure to the music that would pattern his life. “When I was a little kid my older brother had all the Ventures records and Link Wray and Duane Eddy records,” he says. “I just grew up with that as my definition of what an electric guitar should sound like.”\u003c/p>\n\u003cp>By the late ‘70s, Amis was leading his first instrumental band, The Overtones, before heading to New York in 1980 to join the seminal surf combo \u003ca href=\"http://www.bar-none.com/bios/raybio.html\">The Raybeats\u003c/a>. His next move was to Nashville, where he worked for the Grand Ole Opry as an audio engineer and, briefly, for a late incarnation of “Hee Haw.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5FjpHTiImBk'\n title='//www.youtube.com/embed/5FjpHTiImBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was excruciating,” Amis recalls. “Fourteen takes of the same joke.”\u003c/p>\n\u003cp>In 1989 he took a fateful trip south of the border, one that would spark an ongoing passion for Mexico. “First time I went down I was just looking for some sort of an adventure,” Amis says. “I took a bus down to Chihuahua. I had heard some Mexican rock and roll stuff, and I wanted to look for some of that, so I went to a record store. I not only found that, but I found a lot of new bands from Mexico City that were just dynamite. I felt at home right away and I knew I wouldn’t be able to stay away, so I’ve been going back pretty regularly ever since.”\u003c/p>\n\u003cp>In 1994 Amis co-founded Los Straitjackets, and it wasn’t long before bootleg copies of the group’s music began filtering into Mexico. The ingredients were ripe for popularity. The band all wore Lucha Libre masks, the music was fun, festive and powerful, and translation was not an issue. There were no lyrics.\u003c/p>\n\u003cp>Initially, however, Amis admits concern that the masks might have been viewed as culturally insensitive. “We had that fear a little but it was the opposite,” he says. “They were flattered that an American band would find elements of their culture really cool and really hip, which we do, and they just didn’t expect that. It touched a nerve down there, and then a whole music scene.”\u003c/p>\n\u003cp>Amis befriended one of the first groups in that scene,\u003ca href=\"http://www.lostacapulco.com/\"> Lost Acapulco\u003c/a>, and produced its hit debut album in 1998.\u003c/p>\n\u003cp>“When you have a chemical music thing it’s very easy to play and to do music, and that’s what happened with Danny and Lost Acapulco,” says Caleb Franco, aka Senor Ramirez, the band’s bassist. “We are big fans of Los Straitjackets as well. There’s so much influence for us. Of course, they wear wrestling masks, which is really good for Mexicans, but I think the crowd in Mexico likes their music so much [because] it’s so clear, so clean and super fantastic.”\u003c/p>\n\u003cp>The popularity of the Lost Acapulco album paved the way for Los Straitjackets to cross the border. “Because it was such a huge hit everybody wanted to know more about me and Los Straitjackets, so we finally went down and did a couple of shows in Mexico City and Guadalajara,” Amis says. “It was amazing the response we got.”\u003c/p>\n\u003cp>Bear in mind, we’re talking about a group that draws on the average “a couple hundred” folks to gigs in America. Last fall, Amis and his masked men attracted a frenzied audience of 50,000 to Mexico City’s Foro Sol arena -- two nights in a row.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SKgidw7glcw'\n title='//www.youtube.com/embed/SKgidw7glcw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s huge! What he’s got going on down there is huge and really unbelievable,” says musician Ben Vaughn. He produced Los Straitjackets’ first three albums and has known Amis since 1983. “It’s a mystery to me, but it also makes sense, mainly because it’s Danny Amis. He’s a visionary and he doesn’t question his motives. He just follows whatever he’s excited about.”\u003c/p>\n\u003cp>Amis also takes Daddy-O Grande very seriously.\u003c/p>\n\u003cp>“He never takes the mask off when he’s down there,” Vaughn reveals. “He goes out to dinner, after sound check, keeps it on. He’s very dedicated to Daddy-O Grande, and they love him down there. He’s the right guy, and Los Straitjackets are the right band. It’s a really interesting phenomenon.”\u003c/p>\n\u003cp>While Amis was in Mexico City last year, he joined forces with the Twin Tones, spending a week in the band’s studio recording, Super Spy Western Tones. A successful Kickstarter campaign helped fund the project.\u003c/p>\n\u003cp>“This album is more than a collaboration between Danny and Los Twin Tones,” offers Vaughn. “It’s actually more cinematic almost, because of the orchestration and the horns and the strings, and the elements of film music dramatics and melodies. It has a sweeping larger feel than a standard instrumental record.”\u003c/p>\n\u003cp>The international project was hatched years ago, but was shelved when Amis hit a major, and very unexpected, road bump.\u003c/p>\n\u003cp>“We had talked about doing some recording together, but of course everything got put on hold when I got cancer,” Amis says. “I had a stem cell transplant to treat multiple myeloma. It got everything under control. I’m not technically in remission, but I’m doing OK, so last year we finally got together and made it happen.”\u003c/p>\n\u003cp>While he still records with Los Straitjackets, he no longer tours with the band, leaving him free to leave California for the land that he loves where his music is king, and he is the godfather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It dawned on me, you know my favorite place in the world is Mexico City. The more I thought about it, I thought that’s where I really want to be,” says Amis. “I’ll probably play and record a lot more music down there because I don’t have to travel to do it. I got cancer in 2010, and a year ago I had a heart attack. Now I have the two leading causes of death and I’m still here. And I feel like I’m the luckiest guy in the world.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Music Review: Deerhoof's 'La Isla Bonita'",
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"content": "\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/175196372\" params=\"color=ff5500&inverse=false&auto_play=false&show_user=true\" width=\"100%\" height=\"20\" iframe=\"true\" /]\u003c/p>\n\u003cp>Deerhoof called its new album “La Isla Bonita”—the beautiful island —and included a song called “Tiny Bubbles.” No, it’s not the song made famous by Hawaiian lounge lord Don Ho. It sounds more like an Ennio Morricone spaghetti Western theme. But 20 years into a career, with a dozen albums and scores of side projects, is Deerhoof trying to show it has a sense of humor?\u003c/p>\n\u003cp>Whatever is going on, it’s a winning turn. Deerhoof has previously made music often associated with the sounds of the German Krautrock movement of the ‘70s, or of early Sonic Youth —a bit cold, perhaps, and certainly very art-conscious. It’s been cited by such innovators as St. Vincent, Tune-Yards and even Flaming Lips as an influence, but has not gained the kind of renown of those followers.\u003c/p>\n\u003cp>The spark behind “La Isla Bonita,” though, was a whole other aesthetic: That of the Ramones. Deerhoof has covered “Pinhead” in concert regularly over the years. This time it really took hold, at least in approach.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286.jpg\">\u003cimg class=\"alignright size-thumbnail wp-image-10345600\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286-400x400.jpg\" alt=\"Deerhoof's 'La Isla Bonita'\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286.jpg 1425w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The song “Exit Only” was the first recorded for this album and stands as its centerpiece, all about being in, of and for the moment. With the Ramones in mind, recording was all done live in guitarist Ed Rodriguez’s basement -- during what drummer and co-founder Greg Saunier has described as “a weeklong sleepover arguing over whether to try and sound like Joan Jett or Janet Jackson.”\u003c/p>\n\u003cp>And if that doesn’t sound like fun, what does? They even sound like they’re enjoying a song they’ve titled “Doom.”\u003c/p>\n\u003cp>For all that, this is still very recognizable as Deerhoof. The combination of Satomi Matsuzaki’s voice and bass, the jabbing and poking guitars of Rodriguez and John Dieterich, and Saunier’s sharp drumming still carry the precision of classic Krautrock, that arty cool. But the urgency of the recording has ensured that the feelings, even emotions in these songs, are not sublimated, not hidden in the artiness.\u003c/p>\n\u003cp>And yes, there is a darkness to it. Serious matters are afoot in these songs: Society is crumbling, the future is uncertain, communication is frustrating. But there’s also a self-awareness, with more than a wink. The closing song, a real tour de force of downcast disco bumping up against Radiohead, is given the purposefully eye-rolling title “Oh Bummer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout, these little jokes abound, such as putting the title “God 2” on a churning new wave surf-rock instrumental. It’s the perfect soundtrack for a sunset on the beach of “La Isla Bonita.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='20'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/175196372&visual=true&color=ff5500&inverse=false&auto_play=false&show_user=true'\n title='https://api.soundcloud.com/tracks/175196372'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Deerhoof called its new album “La Isla Bonita”—the beautiful island —and included a song called “Tiny Bubbles.” No, it’s not the song made famous by Hawaiian lounge lord Don Ho. It sounds more like an Ennio Morricone spaghetti Western theme. But 20 years into a career, with a dozen albums and scores of side projects, is Deerhoof trying to show it has a sense of humor?\u003c/p>\n\u003cp>Whatever is going on, it’s a winning turn. Deerhoof has previously made music often associated with the sounds of the German Krautrock movement of the ‘70s, or of early Sonic Youth —a bit cold, perhaps, and certainly very art-conscious. It’s been cited by such innovators as St. Vincent, Tune-Yards and even Flaming Lips as an influence, but has not gained the kind of renown of those followers.\u003c/p>\n\u003cp>The spark behind “La Isla Bonita,” though, was a whole other aesthetic: That of the Ramones. Deerhoof has covered “Pinhead” in concert regularly over the years. This time it really took hold, at least in approach.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286.jpg\">\u003cimg class=\"alignright size-thumbnail wp-image-10345600\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286-400x400.jpg\" alt=\"Deerhoof's 'La Isla Bonita'\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286.jpg 1425w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The song “Exit Only” was the first recorded for this album and stands as its centerpiece, all about being in, of and for the moment. With the Ramones in mind, recording was all done live in guitarist Ed Rodriguez’s basement -- during what drummer and co-founder Greg Saunier has described as “a weeklong sleepover arguing over whether to try and sound like Joan Jett or Janet Jackson.”\u003c/p>\n\u003cp>And if that doesn’t sound like fun, what does? They even sound like they’re enjoying a song they’ve titled “Doom.”\u003c/p>\n\u003cp>For all that, this is still very recognizable as Deerhoof. The combination of Satomi Matsuzaki’s voice and bass, the jabbing and poking guitars of Rodriguez and John Dieterich, and Saunier’s sharp drumming still carry the precision of classic Krautrock, that arty cool. But the urgency of the recording has ensured that the feelings, even emotions in these songs, are not sublimated, not hidden in the artiness.\u003c/p>\n\u003cp>And yes, there is a darkness to it. Serious matters are afoot in these songs: Society is crumbling, the future is uncertain, communication is frustrating. But there’s also a self-awareness, with more than a wink. The closing song, a real tour de force of downcast disco bumping up against Radiohead, is given the purposefully eye-rolling title “Oh Bummer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout, these little jokes abound, such as putting the title “God 2” on a churning new wave surf-rock instrumental. It’s the perfect soundtrack for a sunset on the beach of “La Isla Bonita.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pop Music Review: Lucinda Williams' 'Down Where the Spirit Meets the Bone'",
"title": "Pop Music Review: Lucinda Williams' 'Down Where the Spirit Meets the Bone'",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-26c-tcrmag.mp3\u003c/p>\n\u003cp>Throughout Lucinda Williams’ recording career, some 35 years now, she has sought out songwriting advice and criticism from one man, a noted poet who has served as her mentor. \u003ca href=\"http://www.poetryfoundation.org/bio/miller-williams\" target=\"_blank\">Miller Williams\u003c/a> also happens to be her dad, still going strong at age 84. But for the first time, with the song, “Compassion,” she sets one of his poems to music.\u003c/p>\n\u003cp>It’s an intimate, moving tribute that both opens and provides the title for her new album, “Down Where the Spirit Meets the Bone.”\u003c/p>\n\u003cp>Miller Williams is a strong proponent of economy of language. Over the years, Lucinda has embraced this paring of things down to the bone as her most immediately recognizable artistic trait — alongside her laconic, Southern-bred drawl. Often in the course of a song, she’ll craft one short phrase and repeat it over and over until it’s the very essence of emotion, as she does with the “spirit meets the bone” line.\u003c/p>\n\u003cp>It’s what ties this album together, across a sprawling span of 20 songs. It’s a vast sweep of emotions, from the tenderness of “Compassion” to the tart anger of “Foolishness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Down Where the Spirit Meets the Bone” is an ambitious statement, arguably the most so of Williams’ already considerable career. And in another first for her, there’s an array of guests helping out, which for some artists would seem a sign of insecurity but here comes off as underscoring a sense of confidence.\u003c/p>\n\u003cp>Jakob Dylan joins her singing “It’s Gonna Rain,” at once hopeful and somber, the rain both a promise and a threat. The mixed emotions are further illustrated by the snaky lines of guest guitarist Bill Frisell darting around those of longtime Williams cohort Greg Leisz, who also served as co-producer for the album.\u003c/p>\n\u003cp>Other guests include Faces keyboardist Ian McLagan and drummer Pete Thomas of Elvis Costello’s Attractions. And Williams enlists Tony Joe White to thread his distinctively swampy guitar through “West Memphis,” the real-life tale of a famously disputed murder case from the ‘90s. In her hands it becomes an epic, backwoods gothic song-story in the mode of Bobbie Gentry or Tony Joe White.\u003c/p>\n\u003cp>That Southern, swampy feel is also found in the gospel-soul chorus of “Protection” and the Stax-like horns on “One More Day,” while “Burning Bridges” would make a solid cover candidate for Tom Petty (a fan who has done Williams \"I Changed the Locks” in the past). And there’s the sultry menace of “Something Wicked This Way Comes.” And she concludes with another homage to a master of economy, covering “Magnolia” by JJ Cale, who died last year.\u003c/p>\n\u003cp>When it’s all done, Williams has brought out the full range of country-folk-rock shadings she’s used in the past. And there’s at least one specific allusion to her catalog, as in the stern “Everything But the Truth” she tells a troubled friend to take charge of life — “you gotta settle up with this sweet old world” — citing her 1992 song “Sweet Old World,” a too-late note to a friend who’d committed suicide.\u003c/p>\n\u003cp>The difference is key. Where “Sweet Old World” was a tender, sorrowful scolding of a lost spirit, this is a get-it-together admonishment meant to have impact before it’s too late. Similarly, “Bone” is not a passive look back, not a career summation. This is a career-\u003ci>defining\u003c/i> album in its scope and sweep.\u003c/p>\n\u003cp>At the center of “Bone” is that thin line between hope and dread. Several songs catalog complaints, troubles, heartaches — a “Big Mess,” as one song title puts it, explicitly. Ultimately, though, it’s hope that tips the scale, no more profoundly than in “When I Look at the World.”\u003c/p>\n\u003cp>“I’ve been unwelcome, I’ve been unloved,” she sings — but then she sees the world “in all its glory,” in a different way every time she looks at it.\u003c/p>\n\u003cp>Simply putting out a 20-song double album is a risky move, and for someone known for artistic economy, it's something that might seem an indulgent disconnect. Is every song a treasure? Of course not. But with her spirited reach, Lucinda Williams at 61 has made an album that stands with her best, a series of songs that ask \u003ci>us\u003c/i> to join her in looking at the world anew.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://lucindawilliams.com/splash-page/\" target=\"_blank\">Lucinda WIlliams' Website\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-26c-tcrmag.mp3\u003c/p>\n\u003cp>Throughout Lucinda Williams’ recording career, some 35 years now, she has sought out songwriting advice and criticism from one man, a noted poet who has served as her mentor. \u003ca href=\"http://www.poetryfoundation.org/bio/miller-williams\" target=\"_blank\">Miller Williams\u003c/a> also happens to be her dad, still going strong at age 84. But for the first time, with the song, “Compassion,” she sets one of his poems to music.\u003c/p>\n\u003cp>It’s an intimate, moving tribute that both opens and provides the title for her new album, “Down Where the Spirit Meets the Bone.”\u003c/p>\n\u003cp>Miller Williams is a strong proponent of economy of language. Over the years, Lucinda has embraced this paring of things down to the bone as her most immediately recognizable artistic trait — alongside her laconic, Southern-bred drawl. Often in the course of a song, she’ll craft one short phrase and repeat it over and over until it’s the very essence of emotion, as she does with the “spirit meets the bone” line.\u003c/p>\n\u003cp>It’s what ties this album together, across a sprawling span of 20 songs. It’s a vast sweep of emotions, from the tenderness of “Compassion” to the tart anger of “Foolishness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Down Where the Spirit Meets the Bone” is an ambitious statement, arguably the most so of Williams’ already considerable career. And in another first for her, there’s an array of guests helping out, which for some artists would seem a sign of insecurity but here comes off as underscoring a sense of confidence.\u003c/p>\n\u003cp>Jakob Dylan joins her singing “It’s Gonna Rain,” at once hopeful and somber, the rain both a promise and a threat. The mixed emotions are further illustrated by the snaky lines of guest guitarist Bill Frisell darting around those of longtime Williams cohort Greg Leisz, who also served as co-producer for the album.\u003c/p>\n\u003cp>Other guests include Faces keyboardist Ian McLagan and drummer Pete Thomas of Elvis Costello’s Attractions. And Williams enlists Tony Joe White to thread his distinctively swampy guitar through “West Memphis,” the real-life tale of a famously disputed murder case from the ‘90s. In her hands it becomes an epic, backwoods gothic song-story in the mode of Bobbie Gentry or Tony Joe White.\u003c/p>\n\u003cp>That Southern, swampy feel is also found in the gospel-soul chorus of “Protection” and the Stax-like horns on “One More Day,” while “Burning Bridges” would make a solid cover candidate for Tom Petty (a fan who has done Williams \"I Changed the Locks” in the past). And there’s the sultry menace of “Something Wicked This Way Comes.” And she concludes with another homage to a master of economy, covering “Magnolia” by JJ Cale, who died last year.\u003c/p>\n\u003cp>When it’s all done, Williams has brought out the full range of country-folk-rock shadings she’s used in the past. And there’s at least one specific allusion to her catalog, as in the stern “Everything But the Truth” she tells a troubled friend to take charge of life — “you gotta settle up with this sweet old world” — citing her 1992 song “Sweet Old World,” a too-late note to a friend who’d committed suicide.\u003c/p>\n\u003cp>The difference is key. Where “Sweet Old World” was a tender, sorrowful scolding of a lost spirit, this is a get-it-together admonishment meant to have impact before it’s too late. Similarly, “Bone” is not a passive look back, not a career summation. This is a career-\u003ci>defining\u003c/i> album in its scope and sweep.\u003c/p>\n\u003cp>At the center of “Bone” is that thin line between hope and dread. Several songs catalog complaints, troubles, heartaches — a “Big Mess,” as one song title puts it, explicitly. Ultimately, though, it’s hope that tips the scale, no more profoundly than in “When I Look at the World.”\u003c/p>\n\u003cp>“I’ve been unwelcome, I’ve been unloved,” she sings — but then she sees the world “in all its glory,” in a different way every time she looks at it.\u003c/p>\n\u003cp>Simply putting out a 20-song double album is a risky move, and for someone known for artistic economy, it's something that might seem an indulgent disconnect. Is every song a treasure? Of course not. But with her spirited reach, Lucinda Williams at 61 has made an album that stands with her best, a series of songs that ask \u003ci>us\u003c/i> to join her in looking at the world anew.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://lucindawilliams.com/splash-page/\" target=\"_blank\">Lucinda WIlliams' Website\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-19d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10341858\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble.jpg\">\u003cimg class=\"wp-image-10341858 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg\" alt=\"Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Jim Page feels the anxiety in the beat of his heart, but he tells himself that all that adrenaline rushing through his body is really just excitement.\u003c/p>\n\u003cp>And he is excited (OK, he concedes, he’s nervous, too) as he calls to kids and parents outside a band room at Alta Vista Middle School in Fresno to come in and sit down. It’s the first rehearsal night of the year for a program he started three years ago: the \u003ca href=\"http://milestonesjazz.org\" target=\"_blank\">Milestones Youth Jazz Workshop\u003c/a>.\u003c/p>\n\u003cp>“It occurred to me that so many kids didn’t have access to jazz education and performance programs,” he says. “It just didn’t seem fair.”\u003c/p>\n\u003cp>Fifty kids from middle and high schools in and around Fresno signed up this year to play in ensembles that meet once a week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“About half the schools where kids come from don’t have jazz programs. So, for them, Milestones is it,” says Page. “Jazz builds a kid’s confidence. If you can stand up in front of an audience full of people and play a solo, what else in life is going to bring you down?”\u003c/p>\n\u003cp>Jazz educators direct the program’s five ensembles. Mandolinist and violinist \u003ca href=\"http://www.evascowmusic.com\" target=\"_blank\">Eva Scow\u003c/a> works with an intermediate group of seventh-, eighth- and ninth-graders. Jazz is stimulating for them, she says. “It’s like learning how to speak another language. They’re all pretty competent on their instruments already. I don’t have to teach them how to play, so we can get right into improvisation and finding their own voice in this style.”\u003c/p>\n\u003cp>In fact, she begins the class with that very idea. “Our goal in Milestones is to teach you how to play jazz, but also to teach you how to play together, right?” Scow says to her group of eager students. “So playing in a jazz band, you’re going to come across a lot of different things that maybe aren’t going to be on paper or maybe you’re not going to be comfortable with or used to.”\u003c/p>\n\u003cp>Seventh-grader Leo Parrigilli says he likes being able to experiment with notes. “When you improvise, that’s where the creativeness comes in and even when you’re reading music, you can add little dynamics. You can do trills or maybe do a note that’s maybe a slightly bit higher, and it just makes it sound awesome with the rest of the group.”\u003c/p>\n\u003cp>Leo says he’s learned so many things through Milestones. “Like how to fix my ambusher, how to play my notes better and have a better airstream,” he says.\u003c/p>\n\u003cp>Scow plays a tune over the speaker and asks the class where samba originated. “Rio,” someone yells out. “Yes!” she replies. “Oh, my goodness! First try. Brazil. So this is a Brazilian rhythm,” she says and asks for a bossa nova beat. The drummer begins, followed by the bass player.\u003c/p>\n\u003cp>Scow asks someone to demonstrate the melody and eighth-grader Daeshavon Ricks raises her hand. She plays saxophone and says she loves Charlie Parker and John Coltrane.\u003c/p>\n\u003cp>Daeshavon says there isn’t a jazz program at her school, but when she heard a Milestones group play she immediately loved the sound.\u003c/p>\n\u003cp>“I had never heard of jazz. And the way that they played, it just really touched my heart,” she says. “What I like about jazz is that you can improvise and be yourself when you play.”\u003c/p>\n\u003cp>Daeshavon says she got a scholarship to join Milestones. “I live with my mom. She’s a single parent, and wouldn’t be able to afford it with four other kids,” she says. She’s quick to note her family loves to come hear her play.\u003c/p>\n\u003cp>Milestones operates under the nonprofit \u003ca href=\"http://www.jazzfresno.org/index.php/home/contacts/25-uncategorised/24-jim-page\" target=\"_blank\">Jazz Fresno\u003c/a> and has an open access policy. It doesn’t turn away any kid who really wants to participate, Page says. The project runs on grants and donations; the students help with fundraisers to bring in extra money.\u003c/p>\n\u003cp>\"This program, really it’s all about partnerships,” Page says. “We started out with the schools. Last summer, we provided scholarships to go to our summer program. And in return, two school districts are providing facilities for us for our school-year program at no cost.”\u003c/p>\n\u003cp>Classically trained violinist Scout Whitaker, 14, says she just started playing with Milestones this year. “I’ve never played jazz before,” she says. “There’s a form that you follow, but it’s much more relaxed. It brings more improvisation that really doesn’t happen in classical music, but it’s such an important musical quality.”\u003c/p>\n\u003cp>Still playing the Brazilian rhythm, Scow turns to Scout and asks, “My sight reader over here. Are you feeling comfortable with it? I bet you could play that, right? You wanna try? Are you feeling it?”\u003c/p>\n\u003cp>Scout picks up her violin and, by the end of tune, everyone in the room is clapping for her solo.\u003c/p>\n\u003cp>“I feel like it’s truly music because it’s emotions that you’re trying to portray. It’s not emotions that were written down for you,” Scout says. “It’s improv. You make it up as you go, it’s what you feel.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Leo puts it another way. “Jazz is just so fun!” he says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-19d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10341858\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble.jpg\">\u003cimg class=\"wp-image-10341858 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg\" alt=\"Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Jim Page feels the anxiety in the beat of his heart, but he tells himself that all that adrenaline rushing through his body is really just excitement.\u003c/p>\n\u003cp>And he is excited (OK, he concedes, he’s nervous, too) as he calls to kids and parents outside a band room at Alta Vista Middle School in Fresno to come in and sit down. It’s the first rehearsal night of the year for a program he started three years ago: the \u003ca href=\"http://milestonesjazz.org\" target=\"_blank\">Milestones Youth Jazz Workshop\u003c/a>.\u003c/p>\n\u003cp>“It occurred to me that so many kids didn’t have access to jazz education and performance programs,” he says. “It just didn’t seem fair.”\u003c/p>\n\u003cp>Fifty kids from middle and high schools in and around Fresno signed up this year to play in ensembles that meet once a week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“About half the schools where kids come from don’t have jazz programs. So, for them, Milestones is it,” says Page. “Jazz builds a kid’s confidence. If you can stand up in front of an audience full of people and play a solo, what else in life is going to bring you down?”\u003c/p>\n\u003cp>Jazz educators direct the program’s five ensembles. Mandolinist and violinist \u003ca href=\"http://www.evascowmusic.com\" target=\"_blank\">Eva Scow\u003c/a> works with an intermediate group of seventh-, eighth- and ninth-graders. Jazz is stimulating for them, she says. “It’s like learning how to speak another language. They’re all pretty competent on their instruments already. I don’t have to teach them how to play, so we can get right into improvisation and finding their own voice in this style.”\u003c/p>\n\u003cp>In fact, she begins the class with that very idea. “Our goal in Milestones is to teach you how to play jazz, but also to teach you how to play together, right?” Scow says to her group of eager students. “So playing in a jazz band, you’re going to come across a lot of different things that maybe aren’t going to be on paper or maybe you’re not going to be comfortable with or used to.”\u003c/p>\n\u003cp>Seventh-grader Leo Parrigilli says he likes being able to experiment with notes. “When you improvise, that’s where the creativeness comes in and even when you’re reading music, you can add little dynamics. You can do trills or maybe do a note that’s maybe a slightly bit higher, and it just makes it sound awesome with the rest of the group.”\u003c/p>\n\u003cp>Leo says he’s learned so many things through Milestones. “Like how to fix my ambusher, how to play my notes better and have a better airstream,” he says.\u003c/p>\n\u003cp>Scow plays a tune over the speaker and asks the class where samba originated. “Rio,” someone yells out. “Yes!” she replies. “Oh, my goodness! First try. Brazil. So this is a Brazilian rhythm,” she says and asks for a bossa nova beat. The drummer begins, followed by the bass player.\u003c/p>\n\u003cp>Scow asks someone to demonstrate the melody and eighth-grader Daeshavon Ricks raises her hand. She plays saxophone and says she loves Charlie Parker and John Coltrane.\u003c/p>\n\u003cp>Daeshavon says there isn’t a jazz program at her school, but when she heard a Milestones group play she immediately loved the sound.\u003c/p>\n\u003cp>“I had never heard of jazz. And the way that they played, it just really touched my heart,” she says. “What I like about jazz is that you can improvise and be yourself when you play.”\u003c/p>\n\u003cp>Daeshavon says she got a scholarship to join Milestones. “I live with my mom. She’s a single parent, and wouldn’t be able to afford it with four other kids,” she says. She’s quick to note her family loves to come hear her play.\u003c/p>\n\u003cp>Milestones operates under the nonprofit \u003ca href=\"http://www.jazzfresno.org/index.php/home/contacts/25-uncategorised/24-jim-page\" target=\"_blank\">Jazz Fresno\u003c/a> and has an open access policy. It doesn’t turn away any kid who really wants to participate, Page says. The project runs on grants and donations; the students help with fundraisers to bring in extra money.\u003c/p>\n\u003cp>\"This program, really it’s all about partnerships,” Page says. “We started out with the schools. Last summer, we provided scholarships to go to our summer program. And in return, two school districts are providing facilities for us for our school-year program at no cost.”\u003c/p>\n\u003cp>Classically trained violinist Scout Whitaker, 14, says she just started playing with Milestones this year. “I’ve never played jazz before,” she says. “There’s a form that you follow, but it’s much more relaxed. It brings more improvisation that really doesn’t happen in classical music, but it’s such an important musical quality.”\u003c/p>\n\u003cp>Still playing the Brazilian rhythm, Scow turns to Scout and asks, “My sight reader over here. Are you feeling comfortable with it? I bet you could play that, right? You wanna try? Are you feeling it?”\u003c/p>\n\u003cp>Scout picks up her violin and, by the end of tune, everyone in the room is clapping for her solo.\u003c/p>\n\u003cp>“I feel like it’s truly music because it’s emotions that you’re trying to portray. It’s not emotions that were written down for you,” Scout says. “It’s improv. You make it up as you go, it’s what you feel.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Leo puts it another way. “Jazz is just so fun!” he says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/08/2014-08-29d-tcrmag.mp3\u003c/p>\n\u003cp>A ganglion is a cluster of nerve cells. \"Ganglion Reef\" is the title of the debut album from the Los Angeles band Wand. If that makes you expect some sensory overload, you’d be right.\u003c/p>\n\u003cp>The quartet brings spirit, style and appealing pop sensibilities to the world of fuzzed-out, DIY psychedelia. But it also brings wit and whimsy, as the song titles “Flying Golem” and “Strange Inertia (Cntl Alt Death)” make plain. Throughout this album, the band is as equally inclined to poke fun at its chosen genre as it is to embrace it.\u003c/p>\n\u003cp>But of course if “Strange Inertia”and “Flying Golem” were only whimsy, they wouldn’t, well, fly. The thing is, these are good songs. Wand may joke, but this is no joke act. And the band does embrace the genre: Right from the start, with the album’s opening song “Send/Receive (Mind),” Wand firmly sets the controls for the heart of the sun.\u003c/p>\n\u003cp>Listen to \"Flying Golem\":\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/151929554\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Early Pink Floyd, the Syd Barrett years in particular, are at the heart of Wand’s sun. Frontman Cory Hanson has affection for and affinity with Barrett’s askew, lysergic bent. But a range of psychedelic styles get the nod here: “Clearer” recalls Status Quo’s ‘60s classic “Pictures of Matchstick Men”—and while it’s hard to make out the lyrics, it sounds like Hanson sings something about Lucy? Maybe in the skies? Distinct lyrics are not the Wand's strong point, nor really the point.\u003c/p>\n\u003cp>In the context of the current, vibrant California fuzz-rock scene, Wand at times leans closer to the pop fun of fellow Angelenos Foxygen than to tireless garage-savant Ty Segall, who is putting this album out on his new GOD? Records label and taking the band on tour as his opening act.\u003c/p>\n\u003cp>Where Wand comes into its own is in some of the textures, including places where Hanson adds occasional electronic noises to the guitar-centric sound — think Brian Eno in early \u003ca href=\"http://www.roxymusic.co.uk/\" target=\"_blank\">Roxy Music\u003c/a>, not Rick Wakeman in Yes. And there are signs of ambition to balance the whimsy: “Fire On the Mountain” goes through several phases in the course of its five minutes, from floaty to funky-bouncy to freak-folky.\u003c/p>\n\u003cp>Ganglion Reef ends with “Generator Larping,” its longest and most sonically refined piece, a closing note pointing to a world of possibilities. Not that we’re predicting this will be the next Radiohead, let alone Pink Floyd. Of course, Radiohead has never really been known for a sense of humor. Nor has Pink Floyd. Maybe that will be the Wand magic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.dragcity.com/artists/wand\" target=\"_blank\">About Wand (DragCity.com)\u003c/a>\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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